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Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’S Blown Away Tour
COUNTRY CULTURE AND CROSSOVER: Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’s Blown Away Tour Krisandra Ivings A Thesis Presented In Partial Fulfillment of the Requirement for the Degree Master of Arts in Music with Specialization in Women’s Studies University of Ottawa © Krisandra Ivings, Ottawa, Canada, 2016 Abstract This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres. ii Acknowledgements A great number of people have supported this thesis behind the scenes, whether financially, academically, or emotionally. -
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ARTICLE ADAPTING COPYRIGHT FOR THE MASHUP GENERATION PETER S. MENELL† Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. By adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. INTRODUCTION ........................................................................ 443 I. MUSIC MASHUPS ..................................................................... 446 A. A Personal Journey ..................................................................... 447 B. The Mashup Genre .................................................................... -
K the SCOPE Won't Give up Hope Humanitarian Recognized
^33 3»5 >• j||||^^ •2; Oa " *-<• 000 2 o ' o o O Springfield Lead* CO '"'.'' '.., • •• '• ':. ; ' -{^•J-'>^-'U PVP^^^P' >>:,'".' • '' " •''•'•••'••-••''.'•'"• ''; .' ,"• I'' .";••• ',*• "'.'''..'- '.':,' • CoHnt. ' ^^^^MaAsd^y aLeade V ^^^jM.^^^r T*ewtp«per*m '^fc f •• • • • — •• mm aata ''''.' • ' '•-''• VOL60IJ&12 SPRINGFIELD, NJ» THURSDAY, DECEMBER 6, 198*-?*" Open house A Christmas Open House at the SCOPE won't Historic Cannon Ball House at 120 Morris Ave. will be held Sunday from 3 to 5 p.m- Spdngfleld Historical Society give up hope President Janice Bonglovarmi, said, "During this holiday season, it is By DOMINICK CRINCOH JR. on opportune time to reminisce Sometimes bureaucracies must be taken, in hand. - about how Christmas was cele- —Such is the philosophyof^SCOPE.-a small Springfield/Summit group brated in the Colonial era. The gen- banded, together to preserve the former Houdaille Quarry site for recrea- eral public U invited and appropri- tional or natural purposes. ate refreshment^ will be served " Government officials at the local, county and state levels know SCOPE The house, Also the headquarters well, and their strenuous effort over the past three years may be one rea- of the Springfield Historical 'Socie- son why the parcel, owned by the county and state, is not developed ty, will be decorated as it would today. have been/in the late 1700s At In past years, the quarry site has been suggested-for an amphitheater, that time, fresh and dried fruits and garbage dump, ash landfill, leaf composting site and many other uses — nuts affixed to evergreen boughs including a recent proposal from the stale Division of Motor Vehicles to' and wreaths were used, and candles operate on inspection station. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
Students Show Support for Planned Parenthood
Broken Tree HO HO HOrror Somber Slide News A4 Voice B3 Sports A12 Vol. 120 | No. 12 4 December 2015 Students show support for Giving Tuesday kicks Planned Parenthood off with a splash BY MADDIE GEHLING comes from donors, and it makes News Editor for more scholarships and more opportunities,” Charles said. “We Bradley took part in the inter- have the Scholarship Luncheon, national Giving Tuesday event for and it goes towards sustaining a the first time on campus Dec. 1, lot of those. When people called raising $576,460 from 1,692 donors. in or made their donation online, Giving Tuesday, which started they could designate it to a certain in 2012, is a global celebration of area they wanted to. There’s a gratitude. It takes place on the general fund, and most of it went Tuesday after Black Friday and into that and is dispersed and Cyber Monday, and it is intend- distributed as necessary, through ed to bring awareness to various scholarships and programs for the philanthropies and not-for-profits. Bradley experience.” “Lydia Moss Bradley, one of her As part of Giving Tuesday fes- big traditions was giving,” univer- tivities, university administrators sity spokesperson and Executive and faculty members participated Director of Public Relations Renee in incentive challenges to encour- Charles said. “We wanted to get age students to donate. students thinking about how giv- Vice President for Student ing to Bradley — even if it’s $1, Affairs Nathan Thomas taught $5, whatever — is that tradition his class and attended campus of Bradley. That way, when you meetings while wearing Batman leave, you’re thinking, ‘I already pajamas, Interim President Stan made a difference at Bradley. -
Adapting Copyright for the Mashup Generation
ARTICLE ADAPTING COPYRIGHT FOR THE MASHUP GENERATION PETER S. MENELL† Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. By adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. INTRODUCTION ........................................................................ 443 I. MUSIC MASHUPS ..................................................................... 446 A. A Personal Journey ..................................................................... 447 † Koret Professor of Law and Director, Berkeley Center for Law & Technology, University of California at Berkeley, School of Law. I thank my sons Dylan and Noah, Peter DiCola, Kembrew McLeod, Gregg Gillis, DJ Guzie, and DJ Solarz for inspiration and background about mashup culture. I also thank Mark Avsec, Jane Ginsburg, Eric Goldman, Molly Van Houweling, David Nimmer, Dotan Oliar, Sean Pager, and participants at the Berkeley Law IP Scholarship Seminar, Berkeley Law Faculty Seminar, and Fifth Annual Internet Law Work-in-Progress Conference for comments. -
C:\Users\Petermenell\Desktop\RCLA
Draft: March 1, 2015 Note: This is a work in progress, with some sections needing further refinements. I welcome comments. Adapting Copyright for the Mashup Generation Peter S. Menell* ABSTRACT Growing out of the rap and hip hop genres as well as advances in digital editing tools, music mashups have emerged as a defining genre for post-Napster generations. Yet the uncertain contours of copyright liability as well as prohibitive transaction costs have pushed this genre underground, stunting its development, limiting remix artists’ commercial channels, depriving sampled artists of fair compensation, and further alienating netizens and new artists from the copyright system. In the real world of transaction costs, subjective legal standards, and market power, no solution to the mashup problem will achieve perfection across all dimensions. The appropriate inquiry is whether an allocation mechanism achieves the best overall resolution of the trade-offs among authors’ rights, cumulative creativity, freedom of expression, and overall functioning of the copyright system. This article contends that by adapting the long-standing cover license for the mashup genre, Congress can support a charismatic new genre while affording fairer compensation to owners of sampled works, engaging the next generations, and channeling disaffected music fans into authorized markets. Such an approach sidesteps the inherent problems of relying upon fair use while promoting cumulative creativity. * Koret Professor of Law and Director, Berkeley Center for Law & Technology, University of California at Berkeley School of Law. I thank Dylan, Noah, Peter DiCola, Kembrew McLeod, Gregg Gillis, DJ Guzie, and DJ Solarz for inspiration and background. I also thank Mark Avsec, Jane Ginsburg, Molly Van Houweling, David Nimmer, Dotan Oliar, Sean Pager, and participants at the Berkeley Law IP Scholarship Seminar and the Berkeley Law Faculty Seminar for comments. -
A New Catalog! Fresh Offers in Jazz & Classical Music
Holiday Issue, 2020 All Prices Good through 1/31/21 Music Highlights see page 3 Rick Wakeman Christmas Portraits Muisc for Solo Piano SBMG 19075967592 $16.98 Country see page 37 Carrie Underwood My Gift AEC 003260102 $16.98 Classical see page 7 Recommendations Nicola Benedetti Elgar Violin Concerto DEC B003221602 $18.98 Jazz & Big Band see page 45 It’s a David Benoit Christmas! Partnered with: Vince Guaraldi’s wonderful music for a Charlie Brown Christmas STEI 30163 $16.98 Boxed Sets see page 16 Fritz Reiner The Complete Columbia Album Collection 14-CD Set VT / KY / TN SBMG 19075936772 $59.98 see page 2 HBDirect Mixed-Genre Catalog HBDirect is pleased to present our Holiday Catalog for 2020! In these times, it has become increasingly clear to us just how important and essential music is for the well-being of so many people. While Holiday 2020 we’ve included pages of classical, jazz and popular music here, this issue is clearly about Christmas - and of course, Christmas has its own soundtrack, personal and unique for each of us. Christmas Carols: SWR Vokal Ensemble Therefore, we have decided to present this year’s holiday catalog in our Mixed-Genre format, In Great Britain, Christmas carols are an integral part of Christmas just like plum conscious of the diversity of musical tastes we are serving. Even as some of you might be interested in the pudding and turkey, paper crowns and mistletoe. The Festival of Nine Lessons same music as other customers, we wanted to offer choices – The First Noel, for example, performed by and Carols - a Christmas mass featuring King’s College Choir, nine short read- a vocal soloist, a choir, piano or guitar, in a traditional style, a Medieval setting, perhaps jazz or country & ings and carols has been broadcast live every year since 1928 on Christmas western. -
Schadenfreude, Social Identity, and American Media Culture A
NORTHWESTERN UNIVERSITY Laughing at the World: Schadenfreude, Social Identity, and American Media Culture A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of Radio/Television/Film By Amber Eliza Watts EVANSTON, ILLINOIS June 2008 2 Copyright by Amber Watts 2008 All rights reserved 3 Contents Abstract __________________________________________________ 4 Acknowledgements _________________________________________ 6 One Introduction: Laughing at the World___________________________ 8 Two The Reality of Schadenfreude and the Schadenfreude of Reality ___ 44 Three Misery, Transformation, and Happy Endings ___________________ 80 Four Love Hurts ______________________________________________ 134 Five Notoriety, Scandal, and Why We Love to Hate Celebrities ________ 203 Bibliograph y ____________________________________________ 259 4 ABSTRACT Laughing at the World: Schadenfreude , Social Identity, and American Media Culture Amber Watts This project explores historical questions of televisual form and cultural production, centering on the proliferation of media texts that mobilize real-life misfortune as a form of entertainment in U.S. television and culture. Specifically, it examines how a variety of “reality” formats in contemporary television stage and exploit spectacles of failure, defeat, suffering, and humiliation for the pleasure of the viewing audience. These texts speak to a wide range of emotional engagements, from pity and sympathy to pure schadenfreude -
The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, Or Other?
The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Gardner, Hyniea. 2019. The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other?. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42004187 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Impact of African-American Musicianship on South Korean Popular Music: Adoption, Appropriation, Hybridization, Integration, or Other? Hyniea (Niea) Gardner A Thesis in the Field of Anthropology and Archaeology for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2019 © May 2019 Hyniea (Niea) Gardner Abstract In 2016 the Korea Creative Content Agency (KOCCA) reported that the Korean music industry saw an overseas revenue of ₩5.3 trillion ($4.7 billion) in concert tickets, streaming music, compact discs (CDs), and related services and merchandise such as fan meetings and purchases of music artist apparel and accessories (Kim 2017 and Erudite Risk Business Intelligence 2017). Korean popular music (K-Pop) is a billion-dollar industry. Known for its energetic beats, synchronized choreography, and a sound that can be an amalgamation of electronica, blues, hip-hop, rock, and R&B all mixed together to create something that fans argue is “uniquely K-Pop.” However, further examination reveals that producers and songwriters – both Korean and the American and European specialists contracted by agencies – tend to base the foundation of the K-Pop sound in hip-hop and R&B, which has strong ties to African-American musical traditions. -
C:\Documents and Settings\Peter Menell\Desktop\Research\Copyright\RCLA\Menell Adapting Copyright for the Mashup Generation 10-2
Draft: Oct. 21, 2014 Note: This is a preliminary draft. Comments welcome. Adapting Copyright for the Mashup Generation Peter S. Menell1 TABLE OF CONTENTS I. Music Mashups A. A Personal Journey B. The Mashup Genre 1. Creation of Music Mashups 2. Types of Music Mashups 3. Marketing, Distribution, and Monetization 4. Live Performance, DJ Production, and Collaboration with Established Artists II. The Legal, Market, and Policy Divides A. The Copyright Backdrop 1. General Framework 2. Application of Copyright Law to Digital Sampling B. What’s Past is Prologue?: The Rap and Hip Hop Genres and Digital Enforcement 1. Rap/Hip Hop’s Rocky Road to Constrained Copyright Legitimacy 2. The Digital Copyright Enforcement Debacle C. The Uncertain and Distorted Mashup Music Marketplace D. The Copyright Policy Divide III. Bridging the Divide: The Case for a Mashup Compulsory License A. Economic Analysis of the Music Mashup Stalemate 1 Koret Professor of Law and Director, Berkeley Center for Law & Technology, University of California at Berkeley School of Law. I thank Dylan, Noah, Peter DiCola, Kembrew McLeod, Gregg Gillis, DJ Guzie, and DJ Solarz for inspiration and background. All views expressed, errors, and omissions are my own. -1- B. The “Cover” License as a Model for Opening up the Remix Marketplace C. Designing a Remix Compulsory License 1. Eligibility Requirements 2. Revenue Sharing 3. Administrative Process 4. Additional Features and Limitations i. Interplay with Fair Use ii. Use Limitations iii. Endorsement Disclaimer iv. Changes to Statutory Damages 5. Possible Extensions D. Additional Benefits of a Remix Compulsory License 1. Enrich Input Materials 2. -
No E WESTFIELD LEADER Westfield Since 1890
riV\) i_ i .: no E WESTFIELD LEADER Westfield Since 1890 NINETY ~* ':] R.NO. 20 -*««aZ%£*?* WESTFIELD, NEW JERSEY, THURSDAY, DECEMBER 8, 1988. Published 32 Pages—30 Cents .O «l Wmr«ld. N.J. Every Thursday Businesses Urge Council To Re-consider Pkg. Deck Local businessmen, respon- Chamber President Mitch Cassidy, who is an associate of ding to the Town Council's deci- Evans and Chamber Parking Carl Heesler, known to some as sion not to proceed with the plan- Committee Chairman Frank the "guru of parking deck," ning phase of a $2.7 million park- Swain asked the council to con- Mr. Cassidy stated that the ing deck on Prospect Street, ex- sider other means of financing parking deck project might be pressed their disappointment and the parking deck project rather financed by establishing an frustration at Tuesday night's than abandoning the idea, They enterprise fund with a portion of public meeting. introduced Westfield resident the town's parking revenues, and Spearheaded by members of and banking investor John (Continued on page 28) the Westfield Area Chamber of Commerce, merchants em- phasized the need for additional Fanwood Man Charged parking for their customers as well as their employees. Joseph Spector.of the Leader In Local Kidnapping Store, gave an overview of what steps had been taken over the A Fanwood man was arrested and remained inside until a 53 past 20 years to alleviate the and charged with two counts of year old woman of that residence parking shortage problem in the burglary, aggravated assault, returned home. A struggle ap- central business district.