DOCSLIB.ORG

Music & Media in Chicago

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music & Media in Chicago DeRogatis Music & Media in Chicago Fall 2017 Syllabus Music & Media in Chicago A “Big Chicago” First-Semester Experience 48-1103 “Come and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning...”—Carl Sandburg Section 01, Mondays 9-11:50 a.m.; Section 02, 12:30-3:20 p.m. Main Lecture: Film Row Cinema, 1104 S. Wabash Ave., Room 813 SEE THE FILE ON CANVAS FOR YOUR ASSIGNED BREAKOUT GROUPS AND WHERE YOU WILL MEET WITH THEM DURING MOST WEEKS FOR THE LAST HOUR OF OUR CLASS Jim DeRogatis, Instructor Department of English, Columbia College Chicago; 33 E. Congress Avenue Contact: Email preferred: [email protected]. Office hours: Room 2K, English Department, third floor, 33 E. Congress Mondays 3:30 to 5 p.m.; and by appointment (including during the breakout sessions). Required Materials The device of your choice (phone, tablet, laptop) to access the Internet when asked during Monday lectures, plus regular Internet and computer access at home. Columbia College Chicago seeks to maintain a supportive academic environment for students with disabilities. Students who self-identify as having a disability should present their documentation to the Services for Students with Disabilities (SSD) office. After the documentation has been reviewed by the SSD office, a Columbia College accommodation letter will be provided to the student. Students are encouraged to present their Columbia accommodation letters to each instructor at the beginning of the semester so that accommodations can be arranged in a timely manner by the College, the department, or the faculty member, as appropriate. Accommodations will begin at the time the letter is presented. Students with disabilities who do not have accommodation letters should visit the office of Services for Students with Disabilities, Room 304 of the 623 S. Wabash building (312-369-8296). - 1 - DeRogatis Music & Media in Chicago Fall 2017 Syllabus Course Description Music & Media in Chicago will provide an overview of the past, present, and future of the many genres of music thriving in Chicago. It will examine how this city put its stamp on the development of these sounds as they spread around the world, as well as introducing the tools of the historian, sociologist, musicologist, and cultural critic via lectures, video, film, online and dead-tree readings, and vibrant discussions. The class also will review the past, present, and future of Chicago media—newspapers, magazines, radio, television, and the blogosphere—examining the city's journalism culture and infrastructure, and, as with music, providing an understanding for an informed and critical reading of these texts so students can become active and involved citizens participating to the fullest extent in everything this extraordinary metropolis has to offer. Students should expect to do some writing for each class, providing their reactions to and analysis of their choice of one of several examples of the music or media being discussed that week, and in some sessions sharing their work with the class or in breakout groups. Learning outcomes The learning outcomes for all of the required first-year freshman experience “Big Chicago” courses are as follows: • Students will emerge being able to demonstrate an understanding of the City of Chicago as “text” and as a site of questioning, creativity, and exploration. • Students will be able to identify frameworks/epistemologies for new and/or deeper ways of thinking for understanding the urban context and communities that surround Columbia College Chicago. • Students will participate in a robust one-to-many/many-to-many learning environment using a combination of large-scale presentation and peer-to- peer (face-to-face and online) learning activities. • Students will experience aspects of the city of Chicago first-hand and reflect on those experiences with a cohort of student peers. The learning outcomes specific to Music & Media in Chicago are: • Students will identify important developments and traditions in Chicago’s rich musical history. • Students will identify key milestones in the development of Chicago journalism. • Students will use critical texts from a variety of disciplines in their investigations of issues raised in the course. • Students will explain how music and media in Chicago reflect and contribute to the history, geography, cultural institutions, neighborhoods, and socio- economic divisions of the city. • Students will hone the skills of informed critical readings of music and media “texts.” - 2 - DeRogatis Music & Media in Chicago Fall 2017 Syllabus Course Rationale Students arriving at Columbia College Chicago are embarking on a journey that will shape and inform their professional careers and indeed the rest of their lives, not only through the courses they pursue in their chosen disciplines and the studies they undertake in the School of Liberal Arts & Sciences, but through their interactions with students in every field at this school as well as with the vital and vibrant city that surrounds it. Music & Media in Chicago will provide an overview of Chicago’s extraordinarily rich musical scenes and diverse genres as well as the many media outlets in print, broadcast, and online that report on and shape the dialog about myriad cultural, political, and social issues in this complicated and unique city. Most importantly, the course will lay the groundwork for knowledgeable and inspired readings of musical and media “texts,” creating a foundation and imparting the skills for deep interdisciplinary critical thinking by honing research, writing, and discussion skills and the utilization of digital tools, aiding and informing students in their future studies, career pursuits, and lives in this city by the lake or wherever their paths may lead. Music is by far the largest entertainment industry in Chicago—generating $84 million annually and employing 13,000 people, according to a 2007 study by the University of Chicago Economics Department—yet it does not always get the respect and appreciation it deserves from city government or the public. It will in our class, from blues, gospel, soul, R&B, and classical music, to rock, hip-hop, alternative country, and house music. Similarly, vital to being a connected and engaged Chicagoan is understanding the media here, which, as is the case worldwide in the wake of the digital revolution, is on troubled and unfamiliar new ground. But at its best, Chicago journalism upholds a strong tradition of groundbreaking and dare we say artful work, from Upton Sinclair and The Jungle in 1906 to the many iterations of Ben Hecht’s The Front Page, and from Studs Terkel and Pulitzer Prize-winning investigative exposes to Bozo the Clown and This American Life. Student Experience The course will be divided into two sessions every Monday: The full-class lecture for the first part, followed by a smaller-group breakout work and discussion session. Students are expected to attend every Monday lecture (14 classes) and complete every weekly assignment via the Canvas Learning Management System. Students will be assigned to breakout groups, and these groups will meet as scheduled in files posted on Canvas, every other week, six times during the semester. Each Monday lecture by the instructor will examine one or more of Chicago’s musical genres and/or journalistic/media institutions, charting their history and development; examining how this city shaped and informed them; the impact they made on Chicago in turn; how they were shaped and informed by the rest of the world, spreading beyond the city’s borders, and introduce some of the most notable - 3 - DeRogatis Music & Media in Chicago Fall 2017 Syllabus artists or practitioners, providing students with the skills to “read” their contributions (songs, albums, videos, written texts, or audio or video broadcasts) so that they may provide their personal responses to these texts through the weekly written reactions, with solid theses backed up by context, evidence, and insight. The group breakout session will be devoted to discussions and writing per assigned groups consisting of in-depth examinations of the texts for that week’s topic and the subjects of that week’s written assignment. Graduate-student teaching assistants will lead these smaller-group sessions based upon prompts from the instructor, and students will hone their individual written responses to one of those texts of their choice. Students who are not scheduled for a breakout work and discussion session on that particular Monday will examine these texts via Canvas, choose one, and produce their written responses on their own time, leaving after the lecture. Additionally, every week during part of the Monday lecture, selected students will present to the entire class some of the best reaction pieces to the music or media texts, as determined by the teaching assistants and the instructor, providing further insight into these topics as well as models for everyone to improve their work. Policies and requirements Writing: As might be expected in a class taught by a prominent music critic, journalist, and lecturer in Columbia’s English Department, students will do some writing for every class, producing a 250-word personal reaction/reading to a musical or media text, including a solid thesis backed up by context, evidence, and insight, as will be explained during the first class session. Indeed, the writing will be our primary tool for judging students’ learning. That having been said, these written pieces will be assessed and graded not on the mechanics of the writing—we will leave that to other classes and instructors to come—so much as on the student’s efforts in deeply engaging with the text and sharing their own personal insights given their particular backgrounds, experiences, and passions or fields of expertise. The weekly written assignments will be graded by the teaching assistants based upon the instructor’s rubric, which follows in this syllabus, in a process that will be supervised by the instructor.
Load more

Recommended publications
  • Steve Cropper | Primary Wave Music
    STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band.
    [Show full text]
  • Murders of Trans Women of Color Largely Ignored
    2015 CHIcagO AUTO SHOW WINDY CITY THE VOICE OF CHICAGO’S GAY, LESBIAN, BI AND TRANS COMMUNITY SINCE 1985 FEB. 18, 2015 VOL 30, NO. 21 PAGE 30 TIMESwww.WindyCityMediaGroup.com Murders of trans women of color largely ignored BY GREtchEN RachEL HAMMOND Shortly after Laverne Cox appeared on the cover of Time magazine last FORMER GOV. year, the media worldwide erupted with stories and opinions concerning PAT QUINN the Transgender Tipping Point. AMONG THOSE Attempting to discern what it really meant, a June 24, 2014 editorial in the New Statesman declared that “something enormous is happening AT EQUALITY in our culture. In the past three years, and especially in the past twelve ILLINOIS gala months, a great many transsexual celebrities, actors and activists have PAGE 26 exploded into the public sphere.” And this month, mainstream news outlets and websites across the United States have been focused on transgender news. Almost every moment of the life of sports celebrity Bruce Jenner had been detailed, scrutinized and commented on since rumors began to surface that Jen- ner was reportedly considering matching outward appearance to inner self. Then, on Feb. 7, Jenner was involved in a car accident in Malibu, California, and the attention became frenzied. TMZ noted that, despite the incident, Jenner’s reality TV series was still going ahead as planned. TMZ had been reporting on the incident to the point of a pathological obsession—posting photos and videos of the wrecked cars involved while People magazine carried a blow-by-blow account of the accident declaring that Jenner was given a breathalyzer test.
    [Show full text]
  • Music and Inter-Generational Experiences of Social Change in South Africa
    All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 PhD Social Anthropology Goldsmiths, University of London All Mixed Up: Music and Inter-Generational Experiences of Social Change in South Africa Dominique Santos 22113429 Thesis submitted in fulfillment of the requirements for a PhD in Social Anthropology Goldsmiths, University of London 2013 Cover Image: Party Goer Dancing at House Party Brixton, Johannesburg, 2005 (Author’s own) 1 Acknowledgements I owe a massive debt to a number of people and institutions who have made it possible for me to give the time I have to this work, and who have supported and encouraged me throughout. The research and writing of this project was made financially possible through a generous studentship from the ESRC. I also benefitted from the receipt of a completion grant from the Goldsmiths Anthropology Department. Sophie Day took over my supervision at a difficult point, and has patiently assisted me to see the project through to submission. John Hutnyk’s and Sari Wastel’s early supervision guided the incubation of the project. Frances Pine and David Graeber facilitated an inspiring and supportive writing up group to formulate and test ideas. Keith Hart’s reading of earlier sections always provided critical and pragmatic feedback that drove the work forward. Julian Henriques and Isaak Niehaus’s helpful comments during the first Viva made it possible for this version to take shape. Hugh Macnicol and Ali Clark ensured a smooth administrative journey, if the academic one was a little bumpy. Maia Marie read and commented on drafts in the welcoming space of our writing circle, keeping my creative fires burning during dark times.
    [Show full text]
  • DYKE MARCH PRIDE MONTROSE NORTH Page 30 ROCKS Page 28
    CHICAGO RESPONDS TO SUPREME COURT WINDY CITY MARRIAGE THE VOICE OF CHICAGO’S GAY, LESBIAN, RULINGS BI AND TRANS COMMUNITY SINCE 1985 JULY 3, 2013 VOL 28, NO. 40 PAGE 5 www.WindyCityMediaGroup.comTIMES 1 MILLION AT PRIDE OUT SKY PLAYER SHARNEE ZOLL-NORMAN HITS THE PARADE page 38 page 24 Photo by Kate Sosin MARIA PAHL WINS WINDY CITY GAY IDOL page 29 page 34 DYKE MARCH PRIDE MONTROSE NORTH page 30 ROCKS page 28 Photo by Kirk Williamson Photo by Vern Hester UNITED BLACK PRIDE EVENTS TAKING PLACE THIS WEEK pagE 12 Photo by Janean Watkins 2 July 3, 2013 WINDY CITY TIMES NOW PLAYING! BELLEVILLE BY AMY HERZOG DIRECTED BY ANNE KAUFFMAN Featuring ensemble members Alana Arenas and Kate Arrington with Chris Boykin and Cliff Chamberlain “Nail-bitiNg psychological thriller...” –The New York Times Production Sponsor Grand Benefactors 2012/13 Benefactors 2012/13 WINDY CITY TIMES July 3, 2013 3 this week in When A Great Deal Matters, Shop Rob Paddor’s... WINDY CITY TIMES Evanston Subaru in Skokie NEWS ENTERTAINMENT/EVENTS XV Crosstrek Column 4 Scottish Play Scott 15 DOMA/Prop 8 march 5 ‘Miss Gay Black America’ film 19 Historic rulings on DOMA, Prop 8 6 Knight: I’m So Excited, Laurence 20 What to do after rulings? 8 ‘Fosters’ Sherri Saum 21 Developments in California 9 Gay Games 22 March in Springfield Oct. 22 10 30 Under 30 23 Gerber/Hart; judges’ alliance 11 Pride events 24 ø Writer on Black churches; event pulled 12 Billy Masters 37 The most fuel-efficient Gay in the Life 13 Fundraiser for the USO AWD crossover in America! VIEWS: Kelley, Gov.
    [Show full text]
  • What Can the Cook County Juvenile Court Do to Improve Its Ability to Help Our Youth? a Juvenile Justice Needs Assessment
    March 2015 Project Report: What Can the Cook County Juvenile Court Do to Improve Its Ability to Help Our Youth? A Juvenile Justice Needs Assessment Commissioned by Cook County Justice for Children and its Juvenile Justice Strategy Team Compiled by the Mansfield Institute for Social Justice and Transformation at Roosevelt University and the Institute on Public Safety and Social Justice at Adler University. ROOSEVELT UNIVERSITY MANSFIELD INSTITUTE FOR SOCIAL JUSTICE AND TRANSFORMATION What Can the Cook County Juvenile Court Do to Improve Its Ability to Help Our Youth? A Juvenile Justice Needs Assessment Juvenile Justice Strategy Team Members & Process This group was convened by Cook County Justice for Thomson from Chicago State University. All processes Children’s then-Executive Director, Lanetta Haynes were reported to Lanetta Haynes Turner and CCJC staff Turner. The Needs Assessment idea arose as a way of member, Syeda Naqvi. The final report was completed learning the relative strengths and the opportunities for chiefly by (in alphabetical order) Tina Johnson of the positive transformation within the Cook County Juvenile Institute on Public Safety and Social Justice (IPSSJ) at Justice System. The study was a volunteer effort on the Adler University, Nancy Michaels of The Mansfield Insti- part of all researchers. The survey and focus groups tute for Social Justice and Transformation at Roosevelt were designed by students and employees of Roosevelt University and Elena Quintana, Ph.D., of the IPSSJ at and Adler universities with input from the larger group Adler University. The final draft was completed after the and the staff of CCJC. Individual interviews were con- installment of Juliana Stratton as the Executive Director ducted by individuals from Adler and Roosevelt univer- of Cook County Justice for Children with input from her sities, with additional assistance by Professor Douglas and Syeda Naqvi.
    [Show full text]
  • Listening Patterns – 2 About the Study Creating the Format Groups
    SSRRGG PPuubblliicc RRaaddiioo PPrrooffiillee TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy LLiisstteenniinngg PPaatttteerrnnss AA SSiixx--YYeeaarr AAnnaallyyssiiss ooff PPeerrffoorrmmaannccee aanndd CChhaannggee BByy SSttaattiioonn FFoorrmmaatt By Thomas J. Thomas and Theresa R. Clifford December 2005 STATION RESOURCE GROUP 6935 Laurel Avenue Takoma Park, MD 20912 301.270.2617 www.srg.org TThhee PPuubblliicc RRaaddiioo FFoorrmmaatt SSttuuddyy:: LLiisstteenniinngg PPaatttteerrnnss Each week the 393 public radio organizations supported by the Corporation for Public Broadcasting reach some 27 million listeners. Most analyses of public radio listening examine the performance of individual stations within this large mix, the contributions of specific national programs, or aggregate numbers for the system as a whole. This report takes a different approach. Through an extensive, multi-year study of 228 stations that generate about 80% of public radio’s audience, we review patterns of listening to groups of stations categorized by the formats that they present. We find that stations that pursue different format strategies – news, classical, jazz, AAA, and the principal combinations of these – have experienced significantly different patterns of audience growth in recent years and important differences in key audience behaviors such as loyalty and time spent listening. This quantitative study complements qualitative research that the Station Resource Group, in partnership with Public Radio Program Directors, and others have pursued on the values and benefits listeners perceive in different formats and format combinations. Key findings of The Public Radio Format Study include: • In a time of relentless news cycles and a near abandonment of news by many commercial stations, public radio’s news and information stations have seen a 55% increase in their average audience from Spring 1999 to Fall 2004.
    [Show full text]
  • RIDING the WAVE Page 22 LGBT Issues by Kate Sosin
    PAGE 29 LIZ PHAIR TALKS WINDY CITY THE VOICE OF CHICAGO’S GAY, LESBIAN, BI AND TRANS COMMUNITY SINCE 1985 JAN. 19, 2011 TIMES VOL 26, NO. 16 www.WindyCityMediaGroup.com BEHIV folds; AFC responds BY JOSEPH ERBENTRAUT “Over the last two decades, BEHIV has provid- Foundation of Chicago (AFC) as another factor MIGUEL DEL ed case management, prevention, housing, men- in their decision to shutter. Specifically, BEHIV VALLE INTERVIEW In a statement released Jan. 14, the Chicago- tal health, educational outreach, art and mas- pointed to a “pending decision” by AFC to sus- based HIV/AIDS service organization Better Ex- sage therapy to those affected with HIV/AIDS. pend its allocation of Ryan White Part A case PAGE 12 istence with HIV (BEHIV) announced it would The agency has literally reached thousands of management funding of agencies who, like BE- be closing its doors after 21 years of service to people throughout its tenure. And it has been HIV, do not have an on-site medical clinic. the community. an amazing run,” the statement read. “With the environment for funding becoming The news follows on the heels of Executive Di- “With that being said, how did we get here?” more and more competitive, AFC is encourag- rector Eric Nelson’s departure late last year and the statement continued.“ Alas, community- ing smaller organizations to merge or forcing confirms rumors of financial trouble within the based organizations are finding it more and the choice of consolidation,” the statement organization. According to the statement, is- more difficult to maintain their current level read.
    [Show full text]
  • Chicago Gay and Lesbian Hall of Fame 2001
    CHICAGO GAY AND LESBIAN HALL OF FAME 2001 City of Chicago Commission on Human Relations Richard M. Daley Clarence N. Wood Mayor Chair/Commissioner Advisory Council on Gay and Lesbian Issues William W. Greaves Laura A. Rissover Director/Community Liaison Chairperson Ó 2001 Hall of Fame Committee. All rights reserved. COPIES OF THIS PUBLICATION ARE AVAILABLE UPON REQUEST City of Chicago Commission on Human Relations Advisory Council on Gay and Lesbian Issues 740 North Sedgwick Street, 3rd Floor Chicago, Illinois 60610 312.744.7911 (VOICE) 312.744.1088 (CTT/TDD) Www.GLHallofFame.org 1 2 3 CHICAGO GAY AND LESBIAN HALL OF FAME The Chicago Gay and Lesbian Hall of Fame is both a historic event and an exhibit. Through the Hall of Fame, residents of Chicago and our country are made aware of the contributions of Chicago's lesbian, gay, bisexual, and transgendered (LGBT) communities and the communities’ efforts to eradicate homophobic bias and discrimination. With the support of the City of Chicago Commission on Human Relations, the Advisory Council on Gay and Lesbian Issues established the Chicago Gay and Lesbian Hall of Fame in June 1991. The inaugural induction ceremony took place during Pride Week at City Hall, hosted by Mayor Richard M. Daley. This was the first event of its kind in the country. The Hall of Fame recognizes the volunteer and professional achievements of people of the LGBT communities, their organizations, and their friends, as well as their contributions to their communities and to the city of Chicago. This is a unique tribute to dedicated individuals and organizations whose services have improved the quality of life for all of Chicago's citizens.
    [Show full text]
  • Garage House Music Whats up with That
    Garage House Music whats up with that Future funk is a sample-based advancement of Nu-disco which formed out of the Vaporwave scene and genre in the early 2010s. It tends to be more energetic than vaporwave, including elements of French Home, Synth Funk, and making use of Vaporwave modifying techniques. A style coming from the mid- 2010s, often explained as a blend of UK garage and deep home with other elements and strategies from EDM, popularized in late 2014 into 2015, typically mixes deep/metallic/sax hooks with heavy drops somewhat like the ones discovered in future garage. One of the very first house categories with origins embeded in New York and New Jersey. It was named after the Paradise Garage bar in New york city that operated from 1977 to 1987 under the prominent resident DJ Larry Levan. Garage house established along with Chicago home and the outcome was home music sharing its resemblances, affecting each other. One contrast from Chicago house was that the vocals in garage house drew stronger impacts from gospel. Noteworthy examples consist of Adeva and Tony Humphries. Kristine W is an example of a musician involved with garage house outside the genre's origin of birth. Also understood as G-house, it includes very little 808 and 909 drum machine-driven tracks and often sexually explicit lyrics. See likewise: ghettotech, juke house, footwork. It integrates components of Chicago's ghetto house with electro, Detroit techno, Miami bass and UK garage. It includes four-on-the-floor rhythms and is normally faster than a lot of other dance music categories, at approximately 145 to 160 BPM.
    [Show full text]
  • Qurrat Ann Kadwani: Still Calling Her Q!
    1 More Next Blog» Create Blog Sign In InfiniteBody art and creative consciousness by Eva Yaa Asantewaa Tuesday, May 6, 2014 Your Host Qurrat Ann Kadwani: Still calling her Q! Eva Yaa Asantewaa Follow View my complete profile My Pages Home About Eva Yaa Asantewaa Getting to know Eva (interview) Qurrat Ann Kadwani Eva's Tarot site (photo Bolti Studios) Interview on Tarot Talk Contact Eva Name Email * Message * Send Contribute to InfiniteBody Subscribe to IB's feed Click to subscribe to InfiniteBody RSS Get InfiniteBody by Email Talented and personable Qurrat Ann Kadwani (whose solo show, They Call Me Q!, I wrote about Email address... Submit here) is back and, I hope, every bit as "wicked smart and genuinely funny" as I observed back in September. Now she's bringing the show to the Off Broadway St. Luke's Theatre , May 19-June 4, Mondays at 7pm and Wednesdays at 8pm. THEY CALL ME Q is the story of an Indian girl growing up in the Boogie Down Bronx who gracefully seeks balance between the cultural pressures brought forth by her traditional InfiniteBody Archive parents and wanting acceptance into her new culture. Along the journey, Qurrat Ann Kadwani transforms into 13 characters that have shaped her life including her parents, ► 2015 (222) Caucasian teachers, Puerto Rican classmates, and African-American friends. Laden with ▼ 2014 (648) heart and abundant humor, THEY CALL ME Q speaks to the universal search for identity ► December (55) experienced by immigrants of all nationalities. ► November (55) Program, schedule and ticket information ► October (56) ► September (42) St.
    [Show full text]
  • Potential Impacts to Public Radio Transmission Facilities from TV Band Repacking
    Meintel, Sgrignoli & Wallace CPB A Report To The Corporation for Public Broadcasting Regarding Potential Impacts To Public Radio Transmission Facilities From TV Band Repacking Dennis Wallace William Meintel MEINTEL, SGRIGNOLI, & WALLACE, LLC 1282 Smallwood Drive, Suite 372 Waldorf, MD 20603 (202) 251-7589 February 2, 2017 Radio Impacts from TV Facility Changes 1 of 11 Meintel, Sgrignoli & Wallace CPB Executive Summary The firm of Meintel, Sgrignoli, and Wallace, LLC (MSW) is pleased to provide the following report to the Corporation for Public Television (CPB) in response to its Scope of Work to provide Post-Auction Spectrum Planning services to CPB. Specifically, MSW was tasked with studying the potential impacts to Public Radio Station Transmitter Facilities that may result from the TV Band Repack and associated DTV Station channel changes and facility modifications. Digital Television stations will be repacked to channels 2-36 after the completion of the FCC’s Incentive Auction. These channel changes are likely to impact some Public Radio stations that a share tower or are near-co-located with a television station. There are several possible impacts ranging from down-time during rigging and derigging operations to loss of tower space and possible relocation due to tower structural limits. The specific impact is highly dependent upon the specific tower situation as well as the new channel assigned to the co-located TV Station(s). A. Potentially Impacted Radio Stations MSW has conducted a study to determine the number of CPB Eligible Radio Stations that are co-located on the same tower as one or more TV Stations.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]