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Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Art to Commerce: the Trajectory of Popular Music Criticism
Art to Commerce: The Trajectory of Popular Music Criticism Thomas Conner and Steve Jones University of Illinois at Chicago [email protected] / [email protected] Abstract This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts. Keywords: music journalism, popular music criticism, rock criticism, Rock’s Backpages Though scant scholarship directly addresses this subject, music journalists and bloggers have identified a trend in recent years toward commerce-specific framing when writing about artists, recording and performance. Most music journalists, according to Willoughby (2011), “are writing quasi shareholder reports that chart the movements of artists’ commercial careers” instead of artistic criticism. While there may be many reasons for such a trend, such as the Internet’s rise to prominence not only as a medium for distribution of music but also as a medium for distribution of information about music, might it be possible to discern such a trend? Our goal with the research reported here was an attempt to empirically determine whether such a trend exists and, if so, the extent to which it does. -
Joséphine Magnard Tim Burton's Charlie and the Chocolate Factory
Joséphine Magnard Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion ---------------------------------------------------------------------------------------------------------------------------------------------- MAGNARD Joséphine. Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion, sous la direction de Mehdi Achouche. - Lyon : Université Jean Moulin (Lyon 3), 2018. Mémoire soutenu le 18/06/2019. ---------------------------------------------------------------------------------------------------------------------------------------------- Document diffusé sous le contrat Creative Commons « Paternité – pas d’utilisation commerciale - pas de modification » : vous êtes libre de le reproduire, de le distribuer et de le communiquer au public à condition d’en mentionner le nom de l’auteur et de ne pas le modifier, le transformer, l’adapter ni l’utiliser à des fins commerciales. Master 2 Recherche Etudes Anglophones Tim Burton’s Charlie and the Chocolate Factory: A Fairy Tale between Tradition and Subversion A dissertation presented by Joséphine Magnard Year 2017-2018 Under the supervision of Mehdi Achouche, Senior Lecturer ABSTRACT The aim of this Master’s dissertation is to study to what extent Tim Burton plays with the codes of the fairy tale genre in his adaptation of Roald Dahl’s children’s book Charlie and the Chocolate Factory (1964). To that purpose, the characteristics of the fairy tale genre will be treated with a specific focus on morality. The analysis of specific themes that are part and parcel of the genre such as childhood, family and home will show that Tim Burton’s take on the tale challenges the fairy tale codes, providing its viewers with a more Tim Burtonesque, subversive approach where things are not as definable as they might seem. -
Uncle Nick a Film by Chris Kasick
PRESENTS UNCLE NICK A FILM BY CHRIS KASICK Press Notes DISTRIBUTOR CONTACT PRESS CONTACT Nicole Mikuzis Nathaniel Baruch MPI Media Group Brigade Marketing 773.875.4550 917.551.5851 [email protected] [email protected] UNCLENICKMOVIE.COM SYNOPSIS NOTHING RUINS CHRISTMAS LIKE FAMILY. Lewd, drunken Uncle Nick (Brian Posehn, Mr. Show, The Sarah Silverman Program) stumbles his way through his brother’s cookie cutter-family’s annual Christmas gathering in the hopes of scoring with a super-hot party guest. But the arrival of his equally crass sister coupled with Nick’s liquor-fueled faux pas cause family secrets to bubble to the surface that might spell disaster for the whole clan before the night is over. Presented by Errol Morris, UNCLE NICK is a raucously funny comedy of inappropriate behavior, uncomfortably interrupted trysts, and a monumental overserving of ten-cent beers. DIRECTOR’S STATEMENT I grew up in Cleveland and have seen the city struggle with sports curses and memories of past prosperity. During the holidays, I experience the warm Christmas traditions of my family juxtaposed over a city that feels cold, dark, and grim. This is the genesis of my film UNCLE NICK. On the surface, the character Uncle Nick is a jovial, lewd houseguest on a mission to cause havoc. He is the Anti-Santa Claus. The film plays as an over-the-top party romp, but there’s a parallel undercurrent. Told through the story of 10 Cent Beer Night, in which a riot overtook a Cleveland Indians baseball game, the film chronicles an evening of alcohol, anger, and heartbreak. -
One Direction Infection: Media Representations of Boy Bands and Their Fans
One Direction Infection: Media Representations of Boy Bands and their Fans Annie Lyons TC 660H Plan II Honors Program The University of Texas at Austin December 2020 __________________________________________ Renita Coleman Department of Journalism Supervising Professor __________________________________________ Hannah Lewis Department of Musicology Second Reader 2 ABSTRACT Author: Annie Lyons Title: One Direction Infection: Media Representations of Boy Bands and their Fans Supervising Professors: Renita Coleman, Ph.D. Hannah Lewis, Ph.D. Boy bands have long been disparaged in music journalism settings, largely in part to their close association with hordes of screaming teenage and prepubescent girls. As rock journalism evolved in the 1960s and 1970s, so did two dismissive and misogynistic stereotypes about female fans: groupies and teenyboppers (Coates, 2003). While groupies were scorned in rock circles for their perceived hypersexuality, teenyboppers, who we can consider an umbrella term including boy band fanbases, were defined by a lack of sexuality and viewed as shallow, immature and prone to hysteria, and ridiculed as hall markers of bad taste, despite being driving forces in commercial markets (Ewens, 2020; Sherman, 2020). Similarly, boy bands have been disdained for their perceived femininity and viewed as inauthentic compared to “real” artists— namely, hypermasculine male rock artists. While the boy band genre has evolved and experienced different eras, depictions of both the bands and their fans have stagnated in media, relying on these old stereotypes (Duffett, 2012). This paper aimed to investigate to what extent modern boy bands are portrayed differently from non-boy bands in music journalism through a quantitative content analysis coding articles for certain tropes and themes. -
2019 THESCON CLINICIANS Danielle BaylissIs a Professional
2019 THESCON CLINICIANS Danielle Bayliss is a professional aerial dancer and acrobat, and owner of High Expectations Aerial Arts Studio in Memphis, TN. She teaches and performs aerial arts and partner acrobatics locally and regionally. A former competitive gymnast and gymnastics coach, Danielle has over 12 years of experience performing in the air, and has completed over 50 hours of teacher-training with the New England Center for Circus Arts. Carole Choate Blankenship, soprano, is Elizabeth G. Daughdrill Chair in the Fine Arts and Chair of Music and Theatre at Rhodes College. Dr. Blankenship has performed recently in Sintra, Portugal; The Lilypad, Boston; The Foundling Museum, London; Brisbane, Australia; and Dartmouth and Providence Colleges.. Dr. Blankenship has led voice masterclasses in Melbourne, Australia, at Wheaton Conservatory, Texas A & M Corpus Christi, and Missouri State University, among others. Also, Dr. Blankenship currently serves as President-elect of the National Association of Teachers of Singing. Frank Bluestein is the 1996–1997 Disney National Performing Arts Teacher of the Year and the 1994 Tennessee Teacher of the Year. USA Today named Bluestein as one of the top forty teachers in the United States in 1998. Until his retirement in 2013, he served as chair of the Germantown High School Fine Arts Department; as artistic director of the school’s theatre, the Poplar Pike Playhouse; and, as executive producer for the school’s three-million-dollar, Emmy Award-winning television studio. Graduates from his program include Saturday Night Live star Chris Parnell; film, television and stage actress Missi Pyle; Emmy winning casting director (Desperate Housewives & NYPD Blue) Scott Genkinger; NPR reporter Debbie Elliott; Tennessee Shakespeare Company founder and artistic director Dan McCleary; and Blue Man Group actor Wes Day. -
Jay O'connell
JAY O’CONNELL Producer / UPM I MOM SO HARD (multi-cam pilot; UPM) – CBS/WBTV; Prods: Michelle Nader, Rob Thomas, Kristin Hensley, Jen Smedley; Dir: Don Scardino; w/ Freddie Prinze, Jr, David Fynn LIVING BIBLICALLY (multi-cam series; UPM) – CBS/WBTV; Prods: Patrick Walsh, Johnny Galecki, Spencer Medof, Andrew Haas; Dir: Andy Ackerman; w/ Jay Ferguson, Ian Gomez, David Krumholtz RELATIVELY HAPPY (multi-cam pilot; UPM) – CBS/WBTV; Prods: Max Mutchnick, Jeff Astrof; Dir: James Burrows; w/ Jane Lynch, Genevieve Angelson, Jon Rudnitsky, Stephen Guarino TWO BROKE GIRLS (multi-cam pilot and series, Co-Producer/UPM) – CBS / WBTV; Prods: Michael Patrick King, Whitney Cummings; Dir: Jim Burrows, Ted Wass, Scott Ellis, John Fortenberry, Fred Savage, Julie Anne Robinson, Thomas Kail, Michael McDonald, Don Scardino; w/ Kat Dennings, Beth Behrs MAN WITH A PLAN (multi-cam pilot; UPM) – CBS/CBSP; Prods: Jackie Filgo, Jeff Filgo, Michael Rotenberg, Matt LeBlanc; Dir: James Burrows; w/ Matt LeBlanc, Jenna Fischer, Grace Kaufman HAPPY LIFE (multi-cam pilot, UPM) – CBS / WBTV; Prods: Bill Wrubel; Dir: James Burrows; w/ Steven Weber, Duane Martin, Eric Petersen, Rita Moreno, Bill Smitrovich, Minnie Driver ONE BIG HAPPY (multi-cam pilot and series, UPM) – NBC/WBTV; Prods: Ellen DeGeneres, Liz Feldman, Jeff Kleeman; Dir: Scott Ellis; w/ Nick Zano, Elisha Cuthbert BIG BANG THEORY (multi-cam series, UPM) – CBS/WBTV; Prods: Chuck Lorre, Lee Aronsohn, Bill Prady; Dir: Mark Cendrowski; w/ Johnny Galecki, Jim Parsons, Kaley Cuoco, Simon Helberg, Kunal Nayyar PARTNERS -
Liz Phair the Poptimist by Carrie Courogen
Liz Phair the Poptimist By Carrie Courogen HE EARLY AUGHTS WEREN'T exactly a medic}. landscape that Tendeared itself to my parents. It was the heyday of Total Request Live, when Britney became a ~'bad girl" and Christina joined her, when Hilary Duff turned her TV starpower into a music career, and Jessica Simpson turned her music career-into a TV show. Our TV was enforced by parental controls, and once Britney held that snake, my music television access was·limited to VHl, whose programming was heavy on aging seventies rock stars' safe, adult contemporary output and not much else. MTV had to be consumed in bits and pieces, after school a( friends' houses or sleepovers. It was during one of those covert viewings that I heard Liz Phair's "Extraordinary" for the first time. It felt like a revelation. ' . , h d fl t rodamation of Ph airs confidence was infectious; er e an P b · · · essage I'd yet to emg flawed but still spectacular was a nveting m re · c. • d and I consumed as ceive from a song. Toe pop music my inen s . • I5 tw l . 1h closest thing gir e Ve-year-olds lacked this sort of fe~hng. e . 5 Kelly our h . h at the tiOle wa age ad to an empowerment ant em . usic was Clarkso , " " B t Clarkson, whose Ill d ns Miss Independent. u as Iaunche fizzy . Her career w . and fun, was a reality show winner. · ) and call-in in p Of thern rnen art by a panel of three judges (two . -
Mick Taylor © Felix Aeppli 07-2020 / 08-2021
Blues Breaker Mick Taylor © Felix Aeppli 07-2020 / 08-2021 5001 January 17, 1949 (not 1948) Born in Welwyn Garden City, Hertfordshire: Michael Kevin (not James) Taylor. 5001A 1963 Hatfield, Hertfordshire, or London: THE STRANGERS, MEET THE STRANGERS (One-sided 10" acetate, 1963): 1. A Picture Of You (Beveridge, Oakman), 2. The Cruel Sea (Maxfield), 3. It’ll Be Me (Clement), 4. Saturday Night At The Duck Pond (Owen, based on a section from Tchaikovsky's Swan Lake) MT, Alan Shacklock: guitar; Malcolm Collins: vocals (1, 3); John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5001B 1964 Hatfield, Hertfordshire, or London: THE JUNIORS, Single (Columbia DB 7339 [UK], Aug. 1964); MADE IN ENGLAND VOL. 2 – BRITISH BEAT SPECIAL 1964 - 69 (LCD 25-2, CD [France], Spring, 2000): 1. There’s A Pretty Girl (Webb), 2. Pocket Size (White) MT, Alan Shacklock: guitar; Malcolm Collins: vocals; John Glass (later Glascock): bass; Brian Glass (later Glascock): drums. 5002 May, 1967 Probably London THE GODS (THOR, HERMES, OLMPUS, MARS), Single (Polydor 56168 [UK], June, 1967): 1. Come On Down To My Boat Baby (Farrell, Goldstein), 2. Garage Man (Hensley) NOTES: Cuts 1, 2: MT’s participation in this session is very much open to speculation and his own interviews on the subject are full of contradictions; most likely MT had taken part in some live shows, but he never was in THE GODS’ actual line-up (Lee Kerslake: guitar; Ken Hensley: organ, vocals; John Glascock: bass, back-up vocals; Brian Glascock, perhaps alternating with Lee Kerslake: drums); – Nor is MT identical with MICK TAYLOR playing guitar and singing on a Single (CBS 201770 [UK], June, 1965), London Town, Hoboin’ (both Taylor - produced by Jimmy Duncan and Peter Eden); or involved in Cockleshells (Taylor), a track recorded by MARIANNE FAITHFULL (NORTH COUNTRY MAID, Decca LK 4778 [UK], Feb. -
“It's Not Just a Musical Revue... It's a State of Mind!”
itc e FFoouurr BBitchhiinn’’ BBaa TThhe bbeess TM WWhheerree mmuussiicc,, llaauugghhtteerr && ggiirrllffrriieennddss rreeiiggnn!! “Together they tell humorously observant “The BABES stir the heart as well as the “A stellar group of contemporary artists tales of modern urban life, and harmonize like funny bone” – Billboard who swim the emotional river with humor a heavenly chorus.” – The Chicago Tribune “Traveling Oprah Winfreys” – Boston Globe and poignancy.” – The Los Angeles View “It’s“It’s notnot justjust aa musicalmusical revue...revue... it’sit’s aa statestate ofof mind!”mind!” Now Booking! SRO Artists, Inc. • ph. (608) 664-8160 • email. [email protected] • web. www.sroartists.com From those multi-talented gal pals that brought you “Hormonal Imbalance... A Mood Swinging Musical Revue,” comes their new entertainment destination... Starring:Starring: Diva Nation… Where Music, Laughter & Girlfriends Reign Join this Fabulous Female Folkestra for a royally hilarious musical journey as they navigate life in the nation... Diva Nation, that is! Sally Fingerett With their whimsical, hip and sophisticated girl-group harmonies, these Crowned Consumption Commissioner hysterically funny and multi-talented musicians let loose on how the new concerning candy, cookies, cakes, millennium has, in some cases literally, changed the face of The Diva! and cocktails. Covertly uncovering the You can find her everywhere; in your office, your mall, your grocery caloric computations of our adored store, she’s cleaning up messes, and putting out fires, possibly from her ingestible items, she insists we ignore own hot flashes! But there she is, in your mirror. “HELLO DIVA!” all information and eat it anyway. As Super- Come celebrate the “Inner Majesty” in us all. -
Xiami Music Genre 文档
xiami music genre douban 2021 年 02 月 14 日 Contents: 1 目录 3 2 23 3 流行 Pop 25 3.1 1. 国语流行 Mandarin Pop ........................................ 26 3.2 2. 粤语流行 Cantopop .......................................... 26 3.3 3. 欧美流行 Western Pop ........................................ 26 3.4 4. 电音流行 Electropop ......................................... 27 3.5 5. 日本流行 J-Pop ............................................ 27 3.6 6. 韩国流行 K-Pop ............................................ 27 3.7 7. 梦幻流行 Dream Pop ......................................... 28 3.8 8. 流行舞曲 Dance-Pop ......................................... 29 3.9 9. 成人时代 Adult Contemporary .................................... 29 3.10 10. 网络流行 Cyber Hit ......................................... 30 3.11 11. 独立流行 Indie Pop ......................................... 30 3.12 12. 女子团体 Girl Group ......................................... 31 3.13 13. 男孩团体 Boy Band ......................................... 32 3.14 14. 青少年流行 Teen Pop ........................................ 32 3.15 15. 迷幻流行 Psychedelic Pop ...................................... 33 3.16 16. 氛围流行 Ambient Pop ....................................... 33 3.17 17. 阳光流行 Sunshine Pop ....................................... 34 3.18 18. 韩国抒情歌曲 Korean Ballad .................................... 34 3.19 19. 台湾民歌运动 Taiwan Folk Scene .................................. 34 3.20 20. 无伴奏合唱 A cappella ....................................... 36 3.21 21. 噪音流行 Noise Pop ......................................... 37 3.22 22. 都市流行 City Pop ......................................... -
Analyzing Genre in Post-Millennial Popular Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire.