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The Musical Number and the Sitcom
ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139). -
By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible. -
Save Me HV PK
SAVE ME Directed by Robert Cary Story by Craig Chester and Alan Hines Screenplay by Robert Desiderio Starring Chad Allen, Robert Gant, Judith Light 96 minutes, color, 2007 First Run Features 630 Ninth Avenue, Suite 1213 New York, NY 10036 (212) 243-0600/Fax (212) 989-7649 www.firstrunfeatures.com 1 of 18 SYNOPSIS 1 Save Me is a love story about Mark, a sex and drug addicted young man who after an accidental overdose finds he’s been checked into a Christian retreat for ‘Ex-Gays’. Gayle, the director of the ministry run together with her husband Ted, believes she can help cure young men of their ‘gay affliction’ through spiritual guidance. At first, Mark resists, but soon takes the message to heart. As Mark’s fellowship with his fellow Ex-Gays grow stronger, however, he finds himself powerfully drawn to Scott, another young man battling family demons of his own. As their friendship begins to develop into romance, Mark and Scott are forced to confront the new attitudes they’ve begun to accept, and Gayle finds the values she holds as an absolute truth to be threatened. A complex and deeply sympathetic look into both sides of one of the most polarizing religious and sexual debates in America. SYNOPSIS 2 Though there is no sound scientific evidence that sexual orientation can be changed, the ex-gay movement has been at the polarizing center of religious and sexual debates in the U.S. since the 1970s. In Save Me , an exceptionally layered, intelligent and sensitive drama brought to life by director Robert Cary, Mark (Chad Allen) a self-destructive addict hooked to anonymous sex and narcotics finally hits bottom. -
Call Me Tree: Llamame Arbol Ebook
CALL ME TREE: LLAMAME ARBOL PDF, EPUB, EBOOK Maya Christina Gonzalez | 24 pages | 01 Nov 2014 | Children's Book Press (CA) | 9780892392940 | English, Spanish | United States Call Me Tree: Llamame Arbol PDF Book Post was not sent - check your email addresses! By beginning early and sharing age appropriate books that help kids see through gender assumptions, gender creative kids can relax and trust that they are perfectly natural and valuable. For Kids, Call Me Tree offers opportunities to: Become aware of gender assumptions and stereotypes and step away from "guessing" people's pronouns and gender based on stereotypes. Many of us assume a child with short hair, dressed in a t-shirt and pants is a cisgender boy. How did the character change over the course of the book? Jan 05, Alma rated it really liked it. Kirkus Reviews. Through the letter to readers kids understand that guessing about someone's gender based on how they look can leave a lot of people out. The American Library Association. And they pretty much mean the same thing every time someone looks at them. There are much better books available for this purpose. The Bay Area Reporter. Yet they all have roots and they all belong on the earth and in the world. Aug 19, Tasha rated it really liked it Shelves: picture-books. Retrieved 30 April Even so, it's more of a curriculum connection than something a child will pick up for an independent reading selection. I'm a tree person, and this book is wonderfully resonant. Just a moment while we sign you in to your Goodreads account. -
Rich Dad Poor
Rich Dad Poor Dad will… • Explode the myth that you need to earn a high income to become rich • Challenge the belief that your house is an asset • Show parents why they can’t rely on the school system to teach their kids about money • Define once and for all an asset and a liability • Teach you what to teach your kids about money for their future financial success Robert Kiyosaki has challenged and changed the way tens of millions of people around the world think about money. With perspectives that often contradict conventional wisdom, Robert has earned a reputation for straight talk, irreverence and courage. He is regarded worldwide as a passionate advocate for financial education. R o b What The Rich Teach Their Kids About Money – “The main reason people struggle financially is because they e That The Poor And Middle Class Do Not! have spent years in school but learned nothing about money. r The result is that people learn to work for money… but never t learn to have money work for them.” T . – Robert Kiyosaki K i y Rich Dad Poor Dad – The #1 Personal Finance Book of All Time! o “Rich Dad Poor Dad is a starting point for anyone looking to gain control of their s financial future.” – USA TODAY a k i www.richdad.com ™ $16.95 US | $19.95 CAN Robert T. Kiyosaki “Rich Dad Poor Dad is a starting point for anyone looking to gain control of their financial future.” – USA TODAY RICH DAD POOR DAD What The Rich Teach Their Kids About Money— That The Poor And Middle Class Do Not! By Robert T. -
This Is a Test
‘AFTER THE FALL’ CAST BIOS ANDREA BOWEN (Jenna Danville) – An industry veteran at the age of 19, Andrea Bowen has not stopped working since she appeared on Broadway at the age of 6 as Young Cosette in Les Miserables, becoming the youngest Cosette in the show's 16-year run. She went on to originate the role of Marta Von Trapp in the 1998 Broadway revival of The Sound of Music and the role of Adele in the 2000 Broadway musical production of Jane Eyre. She also appeared as Young Dorothy in the Lincoln Center Workshop production WAS, directed by Tina Landau, and as Leisl at the Hollywood Bowl in The Sound of Music with John Schneider and Melissa Errico. In the summer of 2008 she starred in the hit play Dog Sees God at the Hudson Backstage and in the LA Theatre Works production of Speech and Debate with former SNL cast member Nora Dunn. Best known for her portrayal of Julie Mayer on the hit TV series “Desperate Housewives,” for which she won two Screen Actors Guild Awards for Best Performance by an Ensemble, Bowen’s numerous television credits include a series regular role on ABC's “That Was Then,” recurring and guest appearances on “Boston Public,” “Without A Trace,” “Law & Order,” “Third Watch,” “Arliss,” “One Tree Hill,” “Nip/Tuck,” “Strong Medicine,” “Law & Order: Special Victims Unit” and “King of the Hill.” In 2007, Bowen starred opposite Jennie Garth in the multi-award winning film, “Girl, Posi+ive,” in which she played a high school student infected with the AIDS virus. -
The Charlotte Zolotow Award Observations About Publishing in 1998
CCBC Choices Kathleen T. Horning Ginny Moore Kruse Megan Schliesman Cooperative Children's Book Center School of Education University of Wisconsin-Madison Copyright 01999, Friends of the CCBC, Inc. (ISBN 0-931641-98-5) CCBC Choices was produced by University Publications, University of Wisconsin-Madison. Cover design: Lois Ehlert For information about other CCBC publications, send a self- addressed, stamped envelope to: Cooperative Children's Book Cenrer, 4290 Helen C. White Hall, School of Education, University of Wisconsin-Madison, 600 N. Park St., Madison, WI 53706-1403 USA. Inquiries may also be made via fax (6081262-4933) or e-mail ([email protected]).See the World Wide Web (http://www.soemadison.wisc.edu/ccbc/)for information about CCBC publications and the Cooperative Children's Book Center. Contents Acknowledgments Introduction Results of the CCBC Award Discussions The Charlotte Zolotow Award Observations about Publishing in 1998 The Choices The Natural World Seasons and Celebrations Folklore, Mythology and Traditional Literature Historical People, Places and Events Biography 1 Autobiography Contemporary People, Places and Events Issues in Today's World Understanding Oneself and Others The Arts Poetry Concept Books Board Books Picture Books for Younger Children Picture Books for Older Children Easy Fiction Fiction for Children Fiction for Teenagers New Editions of Old Favorites Appendices Appendix I: How to Obtain the Books in CCBC Choices and CCBC Publications Appendix 11: The Cooperative Children's Book Center (CCBC) Appendix 111: CCBC Book Discussion Guidelines Appendix IV: The Compilers of CCBC Choices 1998 Appendix V:The Friends of the CCBC, Inc. Index CCBC Choices 1778 5 Acknowledgments Thank you to Friends of the CCBC member Tana Elias for creating the index for this edition of CCBC Choices. -
Latino/A Children's and Young Adult Writers on the Art of Storytelling
INTRODUCTION THE HEART AND ART OF LATINO/A YOUNG PEOPLE’S FICTION Frederick Luis Aldama In the last decade, I found myself reading literature that is not meant nor marketed for my age group. This coincides with my compulsive need to share in all aspects of my daughter’s life. Corina is ten. In the past, I have relished in the marvelous art and word swirls of children’s picture books. Today, I am indulging more and more in the literary recreations of the sensory, cogni- tive, and emotional life of tweens and teens—especially those works by Lati- no authors. While there has been no prescriptive menu set—all themes and characters are up for grabs—the floors, baskets, and shelves in our Latino- Filipino (or, Mexipino) household spill over with books created by Latino authors and illustrators. Putting together this book is personal. It is a way for me to think more deeply about all the literature that I gorge on under Corina’s careful direction. It is also more. Indeed, it is about putting front and center for others (parents, teachers, students, and scholars) the creators and creations that make up this growing corpus of literature that draws from and radically expands our plan- etary republic of letters. It is about understanding the journeys of Latino au- thors and artists who commit their time, energy, and skill to giving shape to narratives that at once vitally reflect the myriad of experiences of young Lati- nos in the United States and that invite others to share in these experiences. -
11 Pm Spring 1990 Edmonton Prime Time TV Schedules 7 Pm
Spring 2000 Edmonton Prime Time TV Schedules 7 p.m. - 11 p.m. February 25 - March 17, 2000 Monday Tuesday Wednesday Thursday Friday Saturday Sunday 7 Royal Air Farce Olympians On The Road Mr. Bean Thin Blue Line Wind At My Back It's a Living Pit Pony Country Canada Red Green Show Dooley Gardens 8 22 Minutes Marketplace Royal Air Farce the fifth estate Witness Drop the Beat Venture Red Green Show Hockey Night In Movie/Special 9 Bette Show Canada The Nature of Things Life & Times Da Vinci's Inquest Le Dortoir 22 Minutes 10 The National Sunday Report CBXT Magazine Undercurrents 7 Wheel Of Fortune Twice In A Lifetime Felicity Jeopardy! 8 Roswell W5 Law & Order ER Power Play Little Men Charmed 9 Who Wants To Be A Who Wants To Be A Whose Line Is It Third Watch The City Cold Squad Once and Again Millionaire? Millionaire? Anyway? 10 Drew Carey Who Wants To Be A Law & Order: Special America's Most Who Wants To Be A Ally McBeal The West Wing CFRN Norm Millionaire? Victims Unit Wanted Millionaire? 7 That '70s Show Party Of Five Beverly Hills 90210 Dawson's Creek Greed: The Series Traders Touched By An Angel That '70s Show 8 3rd Rock Fire and Ice: The Second City Family Law Stargate SG-1 Amazon 60 Minutes God, Devil & Bob Richard Riot 9 Dharma & Greg Friends Simpsons NYPD Blue City of Angels Providence Pretender Becker Jesse Malcolm in the Middle 10 Raymond Will & Grace Frasier Saturday Night Live La Femme Nikita Profiler X-Files CITV Grapevine Frasier Stark Raving Mad 7 Friends Star Trek: Voyager Frasier Movie 8 Relic Hunter Movie 9 Dead Man's Gun Movie 10 News News Highlander CKEM Alfred Hitchcock Canadian Local Foreign Spring 1990 Edmonton Prime Time TV Schedules 7 p.m. -
Women's Leadership in Primetime Television an Introductory Study
Women’s Leadership in Primetime Television An Introductory Study Natalie Greene Spring 2009 General University Honors Capstone Advisor: Karen O’Connor Greene 1 Women’s Leadership in Prime-time Television: An Introductory Study Introduction When television executives report their core audience, women always come out ahead. A 2007 Nielsen Media Research report showed that, with only two exceptions, every broadcast network channel had more female viewers than men. ABC’s female audience almost doubled its male audience during the 2007-08 season (Atkinson, 2008). 1 Women onscreen, however, seem to reflect a different reality, making up only 43% of characters in the prime-time 2007-08 season (Lauzen, 2008). 2 As studies going back as far as the 1970s show, women on screen not only fail to represent the proportional makeup of women in society, they also overwhelmingly show a stereotypically gendered version of women (McNeil, 1975; Signorielli and Bacue, 1999; United States Commission on Civil Rights, 1977). This paper aims to address the evolution of women’s leadership in prime-time network scripted television from 1950 to 2008. Because of the way that women have been traditionally marginalized in television, it is important to study the shows that have featured women as lead characters. Characters such as Lucy Ricardo ( I Love Lucy, 1951-1960) influenced later female leads such as Ann Marie ( That Girl, 1966-1971), Mary Richards ( The Mary Tyler Moore Show, 1970-1977) and Murphy Brown ( Murphy Brown, 1988-1998). Thus, along with an introduction to socialization theory and feminist television criticism, this paper covers a selection of some of the most influential female characters and women-centered shows of this period. -
Call Me Tree: Llamame Arbol Free
FREE CALL ME TREE: LLAMAME ARBOL PDF Maya Christina Gonzalez | 24 pages | 01 Nov 2014 | Children's Book Press (CA) | 9780892392940 | English, Spanish | United States Maya Christina Gonzalez - Wikipedia Maya Christina Gonzalez born is an award-winning queer Call Me Tree: Llamame Arbol artist, illustrator, educator and publisher. Gonzalez is a co-founder of the publishing house, Reflection Press. This early gift inspired her to start drawing and introduced her to how art can help Call Me Tree: Llamame Arbol. At age thirteen, Gonzalez and her family moved to rural Oregon where she experienced racism and homophobia. This is when she began painting. Gonzalez was prompted to move from Oregon to San Francisco after she was shot at while living in a lesbian wilderness community. After leaving school with only a few art classes taken, Gonzalez explored creating her Call Me Tree: Llamame Arbol art. At this time, Gonzales was interested in exploring the nature of "reality, consciousness and how these relate to creativity" and was very influenced by Jane Roberts ' channeling of another consciousness that Roberts referred to as Seth. Harriet asked if she would be interested in illustrating children's books which is ultimately what lead Gonzal to her passion for illustrating. InGonzalez suffered from a toxic dose of chemicals in a print-making accident. I'm in line with my beliefs and completely out of line with the beliefs of the dominant culture. Gonzalez's art depicts non-stereotypical images of people, including overweight individuals and empowered women. Gonzalez considers it very important as a child to see oneself depicted in books. -
Conversations with Bill Kristol Guest: Paul Cantor, Professor, University of Virginia
Conversations with Bill Kristol Guest: Paul Cantor, professor, University of Virginia Table of Contents I: High and Low Art on TV 00:15 – 20:30 II: The Invisible Hand in Popular Culture 20:30 – 36:30 III: Are Gangsters Tragic Heroes? 36:30 – 45:47 IV: The Cowboy Western 45:47 – 56:26 V: The Simpsons and Seinfeld 56:26 – 1:10:31 VI: Conservatives and Popular Culture 1:10:31 – 1:27:51 I: High and Low Art on TV (00:15 – 20:30) KRISTOL: Hi, welcome back to CONVERSATIONS. I’m Bill Kristol. And welcome back to Paul Cantor. We’ve had one conversation on Shakespeare, and now we’re going to go from the high to the low, from Shakespeare to popular culture. CANTOR: Ooh. KRISTOL: You’re going to correct me. CANTOR: I resemble that remark. KRISTOL: I’m wrong to even associate popular culture with the low, right? I am wrong, right? So explain. CANTOR: Okay. The problem is that people identify certain media with popular culture as if television is simply popular culture and is low. My thesis is that in every medium, we have both the high and the low, whether it’s drama, whether it’s the novel, whether it’s movies, whether it’s television. And I would never question that there’s a lot of low stuff on television. But I’d just say there are a lot of low things among Shakespeare’s fellow dramatists and the same with the 19th-century novel and many of these other areas of culture.