Somewhere in France
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Grace Potter &The Nocturnals Launch
GRACE POTTER &THE NOCTURNALS LAUNCH VAULTURNAL: HIGH-QUALITY LIVE RECORDINGS FROM THE BAND’S VAST ARCHIVES FIRST RELEASE IS A COMPLETE HEADLINING SHOW RECORDED AT TANGLEWOOD (LOS ANGELES - Nov. 25, 2014) Critically acclaimed rock band and touring powerhouse Grace Potter & the Nocturnals have announced the launch of Vaulturnal. Vaulturnal will offer fans fully mixed and mastered soundboard recordings of live performances from the band’s ever-growing live archives. Initially, GPN plans to release several shows per year as high-quality digital downloads and on compact disc. “We’ve been talking for a long time about launching a live site for fans to access our music, and we have a fanbase that really does feed off the live-music experience,” Grace says of her band’s motivation for undertaking this ongoing project. GPN drummer and co-founder Matt Burr added, “We’re excited to handpick shows that we’re really passionate about and get them out there.” The flagship release, now available at http://www.vaulturnal.com, documents in full the band’s show at the Koussevitsky Music Shed in the famed Tanglewood Music Center in Lenox, MA, on the night of Aug. 19, 2013. The performance was “a barn-burner from start to finish,” according to Grace, comprising selections from each of the band’s albums, including spirited takes on fan favorites like “Medicine,” “Apologies,” “Stars,” “Paris (Ooh La La)”, and the 22-song set also features three covers — an acoustic interpretation of the Junior Parker-penned Elvis classic “Mystery Train”; Heart’s “Crazy On You,” a frequently performed crowd- pleaser during the tour; and a one-off work-up of Pink Floyd’s “Time,” which took shape spontaneously in the middle of show closer “The Lion The Beast The Beat.” As for future releases, the possibilities are endless, according to Grace. -
Body As Evidence
Chapter 1 Pop Goes Democracy Mediating Race, Gender, and Nation on American Idol Parallels between presidential elections and the hit TV series are not hard to make. Indeed, they had become punch lines in comedyAmerican routines: Idol from Comedy Central’s Stephen Colbert complaining that it took too long to determine the next American Idol (in a gag that had audiences assuming he was referring to the next U.S. president) to ABC’s Jimmy Kimmel quipping that, after watching the vice presidential debate during the U.S. presidential campaign in 2008, he “voted four times for Sarah Palin and six times for David Archuleta,” in reference to the popular Republican vice presidential candidate and frontrunner contestant that year. Interestingly, movie critic RogerAmerican Ebert Idol’s mounted criticism against Palin for being “the American Idol candidate,” in which he argued the following: I think I might be able to explain some of Sarah Palin’s appeal. She’s the “American Idol” candidate. Consider. What defines an “American Idol” finalist? They’re good‑looking, work well on television, have a sunny personality, are fierce competitors, and so talented, why, they’re darned near the real thing. There’s a reason “American Idol” gets such high ratings. People identify with the contestants. They think, Hey, that could be me up there on that show! . My problem is, I don’t want to be up there. I don’t want a vice president who is darned near good enough. I want a vice president who is better, wiser, well‑traveled, has met world leaders, who three months ago had an opinion on Iraq. -
Harry Connick, Jr
Harry Connick, Jr. Music From The Motion Picture When Harry Met Sally… Recorded: RCA Studio B, New York City; June 6, 12 & 19, 1989 Label: Columbia/CBS Records Producers: Marc Shaiman & Harry Connick, Jr. Chief Recording and Mixing Engineer: Tim Geelan Release date: July 25, 1989 As we close out the year and are in the midst of the holiday season, it is fitting to discuss a film (and its timeless soundtrack) whose story spans the relationship of its characters over many seasons and holidays. On July 21, 1989, When Harry Met Sally opened at theatres. Unlike most romantic comedies with the traditional sappy storyline, the witty dialogue and observational humor throughout the characters’ romantic miseries is both candid and heartfelt. Though this review is on the music and soundtrack, it is difficult to discuss most soundtracks without briefly discussing the movie itself. The choice of music for any great film is a function of the storyline. For those not familiar with the movie (one of my all-time favorites) When Harry Met Sally looks at all the common relational struggles and miseries between men and women - dating, marriage, loneliness, sex without love, and simply trying to understand and communicate with the opposite sex. It stars Billy Crystal (Harry Burns) and Meg Ryan (Sally Albright) in the title roles. Harry and Sally first meet as recent graduates at the University of Chicago. They drive together to New York to begin their careers, instigating a basic antagonism/attraction based on their conflicting personalities and outlooks on life. Sally has the fresh-faced sunny disposition, always trying to see things in the best light. -
Adam Lambert's Identification and Division Strategies in His American Idol Performances
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2019 The Rhetoric of Camp: Adam Lambert's Identification and Division Strategies in His American Idol Performances Isabelle Lanthier University of Central Florida Part of the Rhetoric and Composition Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Lanthier, Isabelle, "The Rhetoric of Camp: Adam Lambert's Identification and Division Strategies in His American Idol Performances" (2019). Electronic Theses and Dissertations, 2004-2019. 6442. https://stars.library.ucf.edu/etd/6442 THE RHETORIC OF CAMP: ADAM LAMBERT’S IDENTIFICATION AND DIVISION STRATEGIES IN HIS AMERICAN IDOL PERFORMANCES by ISABELLE VIVIANE LANTHIER H.B.A., University of Toronto, 2014 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Writing and Rhetoric in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2019 Major Professor: Angela Rounsaville © 2019 Isabelle Viviane Lanthier ii ABSTRACT This study analyzes camp style as a rhetorical strategy for Burkean rhetorical identification. Through a case study of Adam Lambert’s use of this style on American Idol in 2009, this study produced a rhetorical theory of camp that challenges the typically dialectical relationship between identification and its opposite: division. -
How American Idol Constructs Celebrity, Collective Identity, and American Discourses
AMERICAN IDEAL: HOW AMERICAN IDOL CONSTRUCTS CELEBRITY, COLLECTIVE IDENTITY, AND AMERICAN DISCOURSES A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Amanda Scheiner McClain May, 2010 i © Copyright 2010 by Amanda Scheiner McClain All Rights Reserved ii ABSTRACT This dissertation is a three-pronged study examining American themes, celebrity, and collective identity associated with the television program American Idol. The study includes discourse analyses of the first seven seasons of the program, of the season seven official American Idol message boards, and of the 2002 and 2008 show press coverage. The American themes included a rags-to-riches narrative, archetypes, and celebrity. The discourse-formed archetypes indicate which archetypes people of varied races may inhabit, who may be sexual, and what kinds of sexuality are permitted. On the show emotional exhibitions, archetypal resonance, and talent create a seemingly authentic celebrity while discourse positioning confirms this celebrity. The show also fostered a complication-free national American collective identity through the show discourse, while the online message boards facilitated the formation of two types of collective identities: a large group of American Idol fans and smaller contestant-affiliated fan groups. Finally, the press coverage study found two overtones present in the 2002 coverage, derision and awe, which were absent in the 2008 coverage. The primary reasons for this absence may be reluctance to criticize an immensely popular show and that the American Idol success was no longer surprising by 2008. By 2008, American Idol was so ingrained within American culture that to deride it was to critique America itself. -
Rethinking <I>L'exception Culturelle</I> in French Music Then
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2016 Rethinking l'exception culturelle in French Music Then and Now: Language, Memory, and Political Order Melanie Ann LaFoy University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Audio Arts and Acoustics Commons, Ethnomusicology Commons, French and Francophone Language and Literature Commons, Musicology Commons, Music Performance Commons, and the Music Practice Commons Recommended Citation LaFoy, Melanie Ann, "Rethinking l'exception culturelle in French Music Then and Now: Language, Memory, and Political Order. " Master's Thesis, University of Tennessee, 2016. https://trace.tennessee.edu/utk_gradthes/4050 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Melanie Ann LaFoy entitled "Rethinking l'exception culturelle in French Music Then and Now: Language, Memory, and Political Order." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in French. Anne-Hélène -
August 2016 Orinda News Web.Indd
THE ORINDA NEWS Gratis Published by The Orinda Association 12 Issues Annually Volume 31, Number 8 Delivered to 9,000 Households and Businesses in Orinda August 2016 Glorietta Neighbors Raise Objections This Year’s Instagram Winner to District’s Proposed Solar Panels By BILL O’BRIAN Solutions, Inc., an education consultation Staff Writer and service firm, presented a Facilities Master Plan Update to OUSD trustees. It sually the installation of solar panels included a recommendation from energy Umakes people feel good: the satisfac- engineering consultants Newcomb, An- tion of creating green energy, saving money derson & McCormick that, “the district from PG&E payments and doing one’s part consider the installation of photovoltaic for the planet. Not so for some of the neigh- systems to offset the remaining campus bors on Martha Road near Glorietta El- electric load.” In October 2014, the district ementary School in Orinda. Many of them held a series of community meetings to help are unhappy, not just with the solar panels establish priorities for district construction recently installed there, but with how they projects. According to the district website, were treated by the Orinda Union School “Solar energy for our schools was among CONTRIBUTED PHOTO Congratulations to this year’s winner of the 4th of July Instagram contest. The beauty in this photo BILL O’BRIAN (she prefers to remain anonymous!) went all out to celebrate Independence Day. This front view of Glorietta Elementary School shows one of two locations of new solar panels. Panels are also located in the upper parking lot. District (OUSD) Board of Trustees. -
Millennials Killed the Video Star Amanda Ann Klein
MILLENNIALS MTV’s Transition to Reality Programming KILLED THE VIDEO STAR AMANDA ANN KLEIN MILLENNIALS KILLED THE VIDEO STAR AMANDA ANN KLEIN DUKE UNIVERSITY PRESS Durham and London 2021 MILLENNIALS KILLED THE VIDEO STAR MTV’S TRANSITION TO REALITY PROGRAMMING © 2021 Duke University Press. All rights reserved Printed in the United States of America on acid- free paper ∞ Cover designed by Aimee C. Harrison and Drew Sisk Text designed by Aimee C. Harrison Typeset in Minion Pro and Univers lt Std by Copperline Book Services Library of Congress Cataloging- in- Publication Data Names: Klein, Amanda Ann, [date] author. Title: Millennials killed the video star : mtv’s transition to reality programming / Amanda Ann Klein. Description: Durham : Duke University Press, 2021. | Includes bibliographical references and index. Identifiers:lccn 2020024439 (print) lccn 2020024440 (ebook) isbn 9781478010265 (hardcover) isbn 9781478011309 (paperback) isbn 9781478012870 (ebook) Subjects: lcsh: mtv Networks. | mtv Networks—History. | Music videos. | Generation Y. | Popular culture—United States. Classification:lcc pn1992.8.m87 k545 2021 (print) | lcc pn1992.8.m87 (ebook) | ddc 791.450973—dc23 lc record available at https://lccn.loc.gov/2020024439 lc ebook record available at https://lccn.loc.gov/2020024440 Cover art: Stills from Laguna Beach, “A Black & White Affair,” season 1, episode 1 (mtv, September 28, 2004); The Real World: San Francisco, season 3 (mtv, 1994); The Real World: Seattle, season 7 (mtv, 1998); and “Video Killed the Radio Star,” the Buggles, music video (first aired onmtv , August 21, 1981). CONTENTS Acknowledgments vii Introduction. What Killed the Video Star? 1 ONE “It’s Videos, Fool”: A Targeted History of MTV (1981 – 2004) 24 TWO “This Is the True Story . -
The French Musicals: the Dramatic Impulse of Spectacle Rebecca
Fall 2004 125 The French Musicals: The Dramatic Impulse of Spectacle Rebecca-Anne C. Do Rozario The appellation increasingly applied to French musicals is spectacle. French musicals differ from their contemporary English and German language cousins in that their techniques and artistry come not predominantly from theatre, but from show business. In a culture that has been critically antagonistic to the musical genre over the past decades, les spectacles musicaux1 have nonetheless had extraordinary success in Europe and Canada. While the blockbuster musicals, globally produced, including Les Misérables (1985) and The Phantom of the Opera (1986), which seemed ubiquitous in the 1980s and early 90s, found no substantial audience base in France; at the turn of the century there is evidence of a substantial musical theatre originating in the French language. In this article, I focus on two of the most successful of the recent musicals, Notre-Dame de Paris (1998) and Roméo & Juliette (2000). Both are spectacles, as at home on the stage as on MTV, DVD, or CD. The term, spectacle, is itself applied to divergent styles and genres of entertainment. A close translation is simply “show.” The appellation is not in consistent use and the musical theatre described has also been referred to as opéra- rock and comédie musicale, as rock opera and musical comedy are used in English. The English use of “spectacle” actually approximates spectacle, but is often used in specific reference to the mise en scène of blockbuster musicals, defined by the complexity and expense of sets and special effects. The emergence of les spectacles musicaux has defined a specific trend in French musical based largely on the tension between mise en scène and popular music. -
Rounding out the Brand Frank Hoffman on Broadcasting Four-Hour Documentaries on Saturday Evening
23 SeptemberSeptember 20102010 week 38 Rounding out the brand Frank Hoffman on broadcasting four-hour documentaries on Saturday evening Germany United States N-TV produces documentaries American Idol with Turkish broadcaster TRT5 with new jury France Netherlands Paris Première and Téva The voice of Holland makes present new season programme clever use of new technologies week 38 the RTL Group intranet 23 SeptemberSeptember 20102010 week 38 Cover: Frank Hoffmann, Managing Director of Vox Rounding out the brand Frank Hoffman on broadcasting four-hour documentaries 2 on Saturday evening Germany United States N-TV produces documentaries American Idol with Turkish broadcaster TRT5 with new jury France Netherlands Paris Première and Téva The voice of Holland makes present new season programme clever use of new technologies week 38 the RTL Group intranet Giving orientation Frank Hoffmann uses the Vox Saturday documentaries as an example for why reach isn’t always the be-all and end-all. Frank Hoffmann, Managing Director of Vox Germany - 23 September 2010 On 25 September 2010, Vox is hosting its TV’s The Wonderful World of the Wiesn – third big four-hour Saturday documentaries. Munich’s Oktoberfest Turns 200 will get things How did you first hit upon the idea of running off to a good start. documentaries on Saturday evening rather than films or shows? We want to give viewers orientation on Vox – both strategically speaking and in terms of content. The long programmes are ideal for collecting viewers who either stay with us right away while zapping through the channels, or return to us over the course of the evening.