DOCSLIB.ORG

Recording Academy™ Task Force on Diversity And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

RECORDING ACADEMY™ TASK FORCE ON DIVERSITY AND INCLUSION ANNOUNCES INDUSTRY-WIDE INCLUSION INITIATIVE TO EXPAND OPPORTUNITIES FOR FEMALE PRODUCERS AND ENGINEERS JUSTIN BIEBER, CARDI B, COMMON, ANDRA DAY, ARIANA GRANDE, LADY GAGA, JOHN LEGEND, NICKI MINAJ, KATY PERRY, P!NK, KEITH URBAN, AND MORE ARE AMONG THE FIRST TO SIGN ON TO THE PRODUCER AND ENGINEER INCLUSION INITIATIVE SANTA MONICA, CALIF. (FEBRUARY 1, 2019) — Today, the Recording Academy™’s Task Force on Diversity and Inclusion announced an unprecedented new initiative that aims to expand opportunities for female music producers and engineers. The Producer & Engineer Inclusion Initiative is the inaugural action of a larger strategy to address gender inequity in the music industry. According to a 2018 USC Annenberg Inclusion Initiative study, only 2 percent of music producers and 3 percent of engineers/mixers across popular music are women. This initiative is the first step in a broader effort to improve those numbers and increase diversity and inclusion for all in the music industry. The Inclusion Initiative calls on any entity or individual responsible for or involved in selecting and hiring producers and engineers to commit to making hiring decisions only after considering a slate of candidates that includes at least two women. It also asks working producers to take gender diversity challenges in music’s technical fields into account when determining who to mentor and prepare for development and advancement opportunities. To assist in ensuring the success of this initiative, the Recording Academy has committed to creating and hosting a webpage dedicated solely to facilitating the process of identifying working female producers and engineers. The website enables anyone seeking to consider and hire a woman for a position to quickly access relevant resources, including tools provided by She Is The Music and Women’s Audio Mission, leading organizations that help connect decision-makers with female producers and engineers. "The music industry is at a crossroads and progress won’t happen on its own. There is no magic bullet to shift a status quo that has existed for centuries, but we see this initiative as an important step," said Tina Tchen, Chair of the Recording Academy’s Task Force on Diversity and Inclusion and Partner at Buckley LLP, who previously served as chief of staff to former First Lady, Michelle Obama. "We know that change requires real commitment to intentional hiring and to providing young women with consistent training and mentorship. We aren’t here to tell anyone who to hire, but we have seen repeatedly that the simple act of making sure diverse candidates are always seen and considered makes it more likely that women will get the opportunities they previously have been denied. It’s one step everyone can take that could go a long way to catalyzing important change that is overdue in this industry." A diverse and impressive lineup of more than 200 artists, producers, labels, agencies, management companies, and other stakeholders, including Justin Bieber, Cardi B, Common, Andra Day, Ariana Grande, Recording Academy Task Force on Diversity and Inclusion | Page 1 of 6 Lady Gaga, John Legend, Shawn Mendes, Nicki Minaj, Katy Perry, P!NK, Post Malone, Carrie Underwood, Keith Urban, and more have already signed on to the initiative, signifying their commitment to diversity and overcoming long standing barriers to success in the music industry. The full and growing list is below. The Task Force is thrilled to have received support from this founding class, and looks forward to announcing the names of additional persons and companies who commit to the Inclusion Initiative. “As an artist and member of the Recording Academy, I’m proud to join this pledge and appreciate the work of the Task Force to bring this forward. Women deserve as much opportunity as men, and we know this industry has not always been fair. The only way to change these inequities is for us to face it directly and commit to do more,” said artist and Task Force member, Common. The Inclusion Initiative gives employers and creative decision-makers the continued ability to make the right choice for their music, while simultaneously providing visibility and opportunity for female producers and engineers. Bringing visibility to these issues will not only expand opportunities for women today, but it will also inspire more young women and girls to pursue technical careers in the music industry going forward, which could help shrink the gender gap. “I've been very fortunate in my career to surround myself with powerful female figures. I'm proud to have a female engineer run my own Unsub Studios. I pledge to support this great initiative to provide even more opportunity to talented female producers and engineers,” said artist Katy Perry. The Recording Academy Task Force was established in March of 2018 to examine issues of inclusion and diversity within the Academy and the broader music community. PRODUCER AND ENGINEER INCLUSION INITIATIVE FOUNDING SUPPORTERS PRODUCERS ARTISTS LABELS ▪ Josh Abraham ▪ 2 Chainz ▪ Arista Records ▪ Alex da Kid ▪ Ryan Adams ▪ Arista Nashville ▪ John Alagia ▪ Jhene Aiko ▪ Astralwerks ▪ Jack Antonoff ▪ Aminé ▪ Atlantic Records ▪ Jeff Bhasker ▪ Kassi Ashton ▪ ATO Records ▪ BloodPop ▪ Baby Goth ▪ Beggars Group ▪ Evan Bogart ▪ Kelsea Ballerini ▪ Big Loud Records ▪ Dave Cobb ▪ Jon Batiste ▪ Big Machine Label ▪ Lauren Christy ▪ James Bay Group ▪ Jennifer Decilveo ▪ Becky G ▪ Blue Note Records ▪ Diplo ▪ Tony Bennett ▪ Buskin Records ▪ Mike Elizondo ▪ Dierks Bentley ▪ Capitol Christian Music ▪ Eman (Emanuel ▪ Justin Bieber Group (CCMG) Kiriakou) ▪ Big Sean ▪ Capitol Records ▪ Emilio Estefan ▪ Bleachers ▪ Capitol Records ▪ Ryan Freeland ▪ Mary J. Blige Nashville ▪ Ludwig Göransson ▪ Leon Bridges ▪ Columbia Records ▪ Robin Hannibal ▪ Bishop Briggs ▪ Columbia Nashville Recording Academy Task Force on Diversity and Inclusion | Page 2 of 6 ▪ Alex Hope ▪ Brothers Osborne ▪ Concord ▪ Dann Huff ▪ Caamp ▪ Creative Nation ▪ Jimmy Jam* ▪ Colbie Caillat ▪ Crooked Paintings ▪ Rodney “Darkchild” ▪ Alessia Cara ▪ Def Jam Recordings, Jerkins ▪ Cardi B Inc. ▪ Tyler Johnson ▪ Brandi Carlile ▪ Disney Music Group ▪ Quincy Jones ▪ Cam* (DMG) ▪ Larry Klein ▪ Chance the Rapper ▪ Disruptor Records ▪ Savan Kotecha ▪ Kelly Clarkson ▪ EMI Nashville ▪ Diana Krall ▪ Common* ▪ Epic Records ▪ Sebastian Krys ▪ Ruth-Anne Cunningham ▪ Glassnote Records ▪ Greg Kurstin ▪ Andra Day* ▪ Harvest Records ▪ Luke Laird ▪ Deer Tick ▪ Interscope Geffen A&M ▪ Frank Liddell ▪ Diplo ▪ Island Records ▪ Tucker Martine ▪ Dispatch ▪ KidzBop ▪ Juan de Dios Martín ▪ Missy Elliott ▪ Kill Rock Stars ▪ Max Martin ▪ Gloria Estefan ▪ MCA Nashville ▪ Shane McAnally ▪ Sharon Van Etten ▪ Mercury Nashville ▪ Blake Mills ▪ Ezinma ▪ Mom+Pop ▪ MUNA ▪ Fall Out Boy ▪ Monument Records ▪ Linda Perry ▪ Fat Joe ▪ Motown Records ▪ Ron Perry ▪ FLETCHER ▪ RCA Records ▪ Salaam Remi ▪ Teddy Geiger ▪ RCA Nashville ▪ Maggie Rogers ▪ Selena Gomez ▪ Republic Records ▪ Mark Ronson ▪ Ariana Grande ▪ River House Artists ▪ Raphael Saadiq ▪ Halsey ▪ Secretly Group (Dead ▪ Luis “Dro1dz” Salazar ▪ Phil Hanseroth Oceans, Jagjaguwar ▪ Santigold ▪ Tim Hanseroth and Secretly Canadian) ▪ Jack Splash ▪ Ryan Hurd ▪ Sire Records ▪ Andres Torres & ▪ Lauren Jauregui ▪ Sony Music Latin Iberia Mauricio Rengifo ▪ Joe Jonas Region ▪ Ryan Tedder ▪ Nick Jonas ▪ Sony/ATV Music ▪ The Chainsmokers ▪ Alicia Keys Publishing ▪ TRAKGIRL* ▪ Kian ▪ Thirty Tigers ▪ Pharrell Williams ▪ Emily King ▪ Tommy Boy ▪ Dan Wilson ▪ Diana Krall ▪ Triple Tigers ▪ Dion “No I.D.” Wilson ▪ Kungs ▪ Universal Music Group ▪ Lady Gaga (UMG) ▪ Ray Lamontagne ▪ Universal Music Latin ▪ John Legend Entertainment(UMLE) ▪ Coi Leray ▪ Universal Music ▪ Little Big Town Publishing Group ▪ Jennifer Lopez (UMPG) ▪ Post Malone ▪ Verve Label Group ▪ Shirley Manson ▪ Virgin Records (Garbage) ▪ Warner Bros. Records ▪ Maroon 5 ▪ Warner Music Group ▪ Lori McKenna (WMG) Recording Academy Task Force on Diversity and Inclusion | Page 3 of 6 ▪ Meek Mill ▪ Warner/Chappell Music ▪ Shawn Mendes ▪ Lily Meola ▪ Metro Boomin ▪ Julia Michaels ▪ Nicki Minaj ▪ Steve Moakler ▪ Janelle Monáe ▪ Ashley Monroe ▪ Maren Morris ▪ MUNA ▪ Kacey Musgraves ▪ Lukas Nelson ▪ Of Monsters and Men ▪ Old Dominion ▪ Pearl Jam ▪ Katy Perry ▪ Pink ▪ Ben Platt ▪ Jessie Reyez ▪ Bear Rinehart ▪ Maggie Rogers ▪ Rozzi ▪ Santigold ▪ Troye Sivan ▪ Martin Solveig ▪ Lennon Stella ▪ Lindsey Stirling ▪ Tank and the Bangas ▪ Tegan and Sara ▪ The Chainsmokers ▪ The Killers ▪ The Weeknd ▪ Meghan Trainor ▪ Transviolet ▪ Gloria Trevi ▪ Carrie Underwood ▪ Keith Urban ▪ Usher ▪ Grace VanderWaal ▪ WALK THE MOON ▪ Michelle Williams ▪ Pharrell Williams ▪ X Ambassadors Recording Academy Task Force on Diversity and Inclusion | Page 4 of 6 ▪ YG ▪ Yo Gotti ▪ Justin Young ▪ Jeremy Zucker MANAGEMENT AGENCIES, ENT. COMPANIES, STAKEHOLDERS ▪ 42 Entertainment ▪ A2IM (American Association of ▪ Advanced Alternative Media Inc. Independent Music) ▪ Amelia Artists ▪ Global Music Rights ▪ Jason Aron and Anthony Li, Halsey ▪ Roc Nation Management ▪ She Is The Music ▪ Jonathan Azu, Red Light ▪ The Azoff Company Management ▪ Beka Tischker, Wide Eyed ▪ Hannah Babitt, This Is Noise Entertainment Management ▪ William Morris Endeavor ▪ Mark Beaven ▪ Women’s Audio Mission ▪ Borman Entertainment ▪ Will Botwin, Red Light Management ▪ Scooter Braun & Allison Kaye, SB Project ▪ Bobby Campbell ▪ Creative Nation ▪ Mark Cunningham, Red Light Management ▪ Kelly Curtis, Curtis Management ▪ Direct Management ▪ Ann
Recommended publications
  • COURSE CATALOG 2016-2017 Academic Calendar

    COURSE CATALOG 2016-2017 Academic Calendar

    COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes.

  • Daft Punk Collectible Sales Skyrocket After Breakup: 'I Could've Made

    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 25, 2021 Page 1 of 37 Leader; Travis Denning Makes History INSIDE Daft Punk Collectible Sales Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debutsSkyrocket at No. 1 on Billboard’s lion audience After impressions, Breakup: up 16%). Top Country• Spotify Albums Takes onchart dated April 18. In its first week (ending April 9), it earned$1.3B 46,000 in equivalentDebt album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording• Taylor to Nielsen Swift Music/MRCFiles Data. ‘I Could’veand total Made Country Airplay No.$100,000’ 1 as “Catch” (Big Machine Label Group) ascends SouthsideHer Own marks Lawsuit Hunt’s in second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartEscalating and fourth Theme top 10. It follows freshman LP BY STEVE KNOPPER Young’s first of six chart entries, “Sleep With- MontevalloPark, which Battle arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You In the 24 hours following Daft Punk’s breakup Thomas, who figured out how to build the helmets Montevallo• Mumford has andearned Sons’ 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved millionBen in Lovettalbum sales.
  • Wavelength (February 1983)

    Wavelength (February 1983)

    University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 2-1983 Wavelength (February 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (February 1983) 28 https://scholarworks.uno.edu/wavelength/28 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ... ,.. i .,. #pf r f~ ~ I ~ t J t .. ~ • '~ -- •-- .. I ' I . r : • 1 ,, ' ,,. .t, '~'. • .·' f I .. ""' - • ,, ' ' 4. ,I • , /rl. • 4 . • .•, .' ./j ·. ~ f/ I. • t • New Orleans is a live! A day and night kaleido­ scope of the gaud y, raucous, erotic and exotic­ Mardi Gras, Steamboats, Parades, Seafood, Jazz and the French Quarter. Discover it all in the award-winning books Mardi Gras! A Celebration and New Orleans: The Passing Parade. Brilliant color photographs by Mitchel L. Osborne are complimented by delightful and informative texts. A vail able in fine bookstores or order directly from Picayune Press, Ltd .: Mardi Gras!: A C!oth $29.95, Paper$15.95 · New Orleans: The Passing Parade: 326 Picayune Place # 200 New Orleans, LA 70130 Paper $14.95 Postage and Handhng $1.50 • LA res1dents add 3% tax • V1sa & Mastercharge accepted. ' ISSUE NO. 28 • FEBRUARY 1983 "I'm not sure, but I'm almost positive, rhar all music came from New Orleans. " Ernie K-Doe, 1979 Available in American Oak, American Walnut, Teak, Mahogany and White Features Melamine at no change In cost.
  • Adult Contemporary Radio at the End of the Twentieth Century

    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.
  • Summit Guide Guide Du Sommet Guía De La Cumbre Contents/Sommaire/Sumario

    Summit Guide Guide Du Sommet Guía De La Cumbre Contents/Sommaire/Sumario

    New Frontiers for Creators in the Marketplace 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA www.copyrightsummit.com Summit Guide Guide du Sommet Guía de la Cumbre Contents/Sommaire/Sumario Page Welcome 1 Conference Programme 3 What’s happening around the Summit? 11 Additional Summit Information 12 Page Bienvenue 14 Programme des conférences 15 Autres événements autour du sommet ? 24 Informations supplémentaires du sommet 25 Página Bienvenidos 27 Programa de las Conferencias 28 ¿Lo que pasa alrededor del conferencia? 38 Información sobre el conferencia 39 Page Sponsor & Advisory Committee Profiles 41 Partner Organization Profiles 44 Media Partner Profiles 49 Speaker Biographies 53 9-10 June 2009 – Ronald Reagan Center – Washington DC, USA New Frontiers for Creators in the Marketplace Welcome Welcome to the World Copyright Summit! Two years on from our hugely successful inaugural event in Brussels it gives me great pleasure to welcome you all to the 2009 World Copyright Summit in Washington, DC. This year’s slogan for the Summit – “New Frontiers for Creators in the Marketplace” – illustrates perfectly what we aim to achieve here: remind to the world that creators’ contributions are fundamental for cultural, economic and social development but also that creators – and those who represent them – face several daunting challenges in this new digital economy. It is imperative that we bring to the forefront of political debate the creative industries’ future and where we, creators, fit into this new landscape. For this reason we have gathered, under the CISAC umbrella, all the stakeholders involved one way or another in the creation, production and dissemination of creative works.
  • THE HEW ROCK from the U K Sire Records Expands Through Its Lengthy Involvement with the British Music Scene

    THE HEW ROCK from the U K Sire Records Expands Through Its Lengthy Involvement with the British Music Scene

    THE HEW ROCK FROM THE U K Sire Records Expands Through Its Lengthy Involvement With The British Music Scene don, my introduction to the British scene in contact with Len Wood, then managing Stein by Seymour came from the record and sheet music director of EMI, King’s U.K. licensee. At one My teenage years were so consumed charts of New Musical Express and Melody meeting he and Syd Nathan, King’s fiery with rock ‘n’ roll music that I marked the Maker that appeared in this country in Cash founder, were heatedly debating King’s at- passage of time with such events as Atlantic Box and Billboard each week and, later, tempt to secure an option on all EMI reper- changing the color of its label from yellow to from the magazines themselves. Itwashere toire if it was passed on by Capitol. Nathan red, Bobby Lester being replaced by Har- that I first became aware of sub-publishing, did not succeed, but it was not until several vey Fuqua in the Moonglows, and RCA noticing that many of the American hits years later that I realized how important this purchasing Elvis’ contract from Sun. Grow- were published by different companies I option could have been. ing up in Brooklyn in the mid-1950s gave had never heard of, such as Lawrence When I heard the Beatles’ first me easy access to the great live revues held Wright, Boosey and Hawkes, Campbell- Parlophone record, “Love Me Do,” I was periodically at that borough’s premiere Connelly, Keith Prowse, Feldmans, not overly impressed.
  • Corporate Registry Registrar's Periodical

    Corporate Registry Registrar's Periodical

    Service Alberta ____________________ Corporate Registry ____________________ Registrar’s Periodical REGISTRAR’S PERIODICAL, OCTOBER 15, 2016 SERVICE ALBERTA Corporate Registrations, Incorporations, and Continuations (Business Corporations Act, Cemetery Companies Act, Companies Act, Cooperatives Act, Credit Union Act, Loan and Trust Corporations Act, Religious Societies’ Land Act, Rural Utilities Act, Societies Act, Partnership Act) 0851282 B.C. LTD. Other Prov/Territory Corps 1989894 ALBERTA LTD. Numbered Alberta Registered 2016 SEP 12 Registered Address: 5220 - 50 Corporation Incorporated 2016 SEP 02 Registered AVENUE, WETASKIWIN ALBERTA, T9A0S8. No: Address: 9760 47 AVENUE NW, EDMONTON 2119924575. ALBERTA, T6E 5P3. No: 2019898945. 0901795 B.C. LTD. Other Prov/Territory Corps 1990004 ALBERTA LTD. Numbered Alberta Registered 2016 SEP 07 Registered Address: 303, 9811 - Corporation Incorporated 2016 SEP 12 Registered 34 AVENUE NW, EDMONTON ALBERTA, T6E5X9. Address: 7629-114 STREET, GRANDE PRAIRIE No: 2119916779. ALBERTA, T8W 2T7. No: 2019900048. 101 STREET DEVELOPMENT CORP. Named Alberta 1990224 ALBERTA INC. Numbered Alberta Corporation Incorporated 2016 SEP 06 Registered Corporation Incorporated 2016 SEP 01 Registered Address: 1400-10303 JASPER AVE NW, EDMONTON Address: 120 PLISKA CRESCENT, FORT ALBERTA, T5J 3N6. No: 2019910484. MCMURRAY ALBERTA, T9K 0A9. No: 2019902242. 1088373 B.C. LTD. Other Prov/Territory Corps 1990521 ALBERTA LTD. Numbered Alberta Registered 2016 SEP 02 Registered Address: 3200 Corporation Incorporated 2016 SEP 01 Registered MANULIFE PLACE 10180-101 STREET, Address: 6474 TWP RD 692 No: 2019905211. EDMONTON ALBERTA, T5J3W8. No: 2119910988. 1990620 ALBERTA LTD. Numbered Alberta 1088682 B.C. LTD. Other Prov/Territory Corps Corporation Incorporated 2016 SEP 01 Registered Registered 2016 SEP 07 Registered Address: 301 - 316 Address: 2900-10180 101 ST, EDMONTON WINDEREMERE ROAD NW, EDMONTON ALBERTA, T5J 3V5.
  • 14Th Annual ACM Honors Celebrates Industry & Studio Recording Winners from 55Th & 56Th ACM Awards

    14Th Annual ACM Honors Celebrates Industry & Studio Recording Winners from 55Th & 56Th ACM Awards

    August 27, 2021 The MusicRow Weekly Friday, August 27, 2021 14th Annual ACM Honors Celebrates SIGN UP HERE (FREE!) Industry & Studio Recording Winners From 55th & 56th ACM Awards If you were forwarded this newsletter and would like to receive it, sign up here. THIS WEEK’S HEADLINES 14th Annual ACM Honors Beloved TV Journalist And Producer Lisa Lee Dies At 52 “The Storyteller“ Tom T. Hall Passes Luke Combs accepts the Gene Weed Milestone Award while Ashley McBryde Rock And Country Titan Don looks on. Photo: Getty Images / Courtesy of the Academy of Country Music Everly Passes Kelly Rich To Exit Amazon The Academy of Country Music presented the 14th Annual ACM Honors, Music recognizing the special award honorees, and Industry and Studio Recording Award winners from the 55th and 56th Academy of Country SMACKSongs Promotes Music Awards. Four The event featured a star-studded lineup of live performances and award presentations celebrating Special Awards recipients Joe Galante and Kacey Musgraves Announces Rascal Flatts (ACM Cliffie Stone Icon Award), Lady A and Ross Fourth Studio Album Copperman (ACM Gary Haber Lifting Lives Award), Luke Combs and Michael Strickland (ACM Gene Weed Milestone Award), Dan + Shay Reservoir Inks Deal With (ACM Jim Reeves International Award), RAC Clark (ACM Mae Boren Alabama Axton Service Award), Toby Keith (ACM Merle Haggard Spirit Award), Loretta Lynn, Gretchen Peters and Curly Putman (ACM Poet’s Award) Old Dominion, Lady A and Ken Burns’ Country Music (ACM Tex Ritter Film Award). Announce New Albums Also honored were winners of the 55th ACM Industry Awards, 55th & 56th Alex Kline Signs With Dann ACM Studio Recording Awards, along with 55th and 56th ACM Songwriter Huff, Sheltered Music of the Year winner, Hillary Lindsey.
  • Grammy®-Nominated Artists the Chainsmokers to Release Debut Album

    Grammy®-Nominated Artists the Chainsmokers to Release Debut Album

    THE FANS HAVE SPOKEN: GRAMMY®-NOMINATED ARTISTS THE CHAINSMOKERS TO RELEASE DEBUT ALBUM DUO TO KICK OFF 40 CITY ‘MEMORIES: DO NOT OPEN’ ARENA TOUR THIS SPRING BRAND NEW SINGLE “PARIS” MAKES TOP 10 DEBUT ON BILLBOARD’S HOT 100 NOMINATED FOR THREE GRAMMY® AWARDS INCLUDING ‘BEST NEW ARTIST’ iTunes | Apple Music | Spotify | Amazon Press Assets: https://sm01.box.com/v/TCSParis NEW YORK, NY, (Jan. 30, 2017) GRAMMY®-nominated artist/producer duo The Chainsmokers left it up to their fans to decide whether or not they’d release an alBum, and the clamor has been heard across the world. In response to popular demand, the duo has announced that they will release their deBut alBum this year via ColumBia / Disruptor Records. The alBum news comes alongside the announcement of The Chainsmokers’ biggest ever tour to date. The 40 city ‘Memories: Do Not Open’ North American arena tour kicks off on April 13 in Miami, FL and will stop in major cities across the U.S. and Canada before wrapping in June – see full list of tour dates below. Multi-platinum artist Kiiara will join The Chainsmokers as special guest on all dates. Every ticket purchased online for the tour includes a copy of The Chainsmokers’ forthcoming deBut alBum. AT&T is sending customers to the front of the line with AT&T priority pre-sale ticket access Beginning on Tuesday, January 31 at 10AM via the AT&T THANKS program. For complete pre-sale details visit att.com/frontoftheline. Citi® is the official credit card of the ‘Memories: Do Not Open’ Tour.
  • Vladimir Putin Just Wants to Be Friends P42 ADVERTISEMENT

    Vladimir Putin Just Wants to Be Friends P42 ADVERTISEMENT

    September 12 — September 18, 2016 | bloomberg.com Vladimir Putin just wants to be friends p42 ADVERTISEMENT WORLD CLASS AS STANDARD Bringing It All Together For results to meet expectations, belief in preparation and teammates benefits world-class golfers and investors One nickname for them was the Spanish matches, European captain Tony Jacklin Rotella. “For some players it’s a new expe- Armada, although they fared much better sent his planned pairings out to play nine- ULHQFHDQGWKH\·YHQHYHUKDGWRVDFULÀFH DW7KH5\GHU&XSWKDQWKHLOOIDWHGÁHHW hole small-money matches. Ballesteros a lot for the good of the team. Other guys of 1588 did in war. Beginning in 1987, DQG2OD]iEDO³SOD\LQJWRJHWKHUIRUWKHÀUVW ORYHEHLQJXQVHOÀ V K W H D PSOD\HUV,Q7KH and paired together over four consecutive time ever as partners—squared off against Ryder Cup, knowing ahead of time who Ryder Cups for eight matches in foursomes Bernhard Langer and Ken Brown for $10, you are going to be paired with, and to be (alternate shot) and seven in four-ball and were two down with two holes to play. excited about that, is a big deal. When you (best ball), Spaniards Seve Ballesteros On the eighth hole, Ballesteros holed out UHDOO\ÀQGRXWLI\RX·UHFORVHO\NQLWLVZKHQ and José María Olazábal ran up a record from a bunker to win. One down. On the you get down in a match. That’s when you of 11-2-2—by far the most successful ninth, Olazábal rammed in a 20-foot birdie À Q G RXWLI\RXEHOLHYHLQHDFKRWKHUDQG partnership in the history of the event. putt to win.
  • The Lindsey Stirling Effect

    The Lindsey Stirling Effect

    SECTION TITLE The Lindsey Stirling Effect Jeremy Grimshaw Mormon Celebrity, Mormon Normalcy, and the Dress We will get to the violin playing. First, let’s talk about the dress. On May 17, 2015, the Mormon blogosphere erupted into controversy over the designer gown worn by dancing violinist and YouTube star Lindsey Stirling to the Billboard Music Awards show, where she was to receive the Top Dance/Electronic Album honor. Much of her fan base was torn. Her charm, her quirky fiddle-prancing shtick, and her unapologetic LDS religiosity had made her one of the most eminently Facebookable Mormons in an era in which LDS members have been encouraged quite specifically over the pulpit to share their faith online. And yet there she was, posing for the press in a form-fitting dress with slinky black crisscross straps that framed far too many windowpanes of flesh. “You were a role model until you publicly shamed your religion,” one Instagram commenter lamented.1 Was Stirling flouting—or had she somehow missed—the continued ecclesiastical admonishment and consequent orthodox eagerness, now several years running, to cover the skin from shoulder to knee? On the other hand, some less conservative voices, many of which, I suspect, do not regularly ride on the same social media bandwagons as do Stirling’s fans, leapt to defend her autonomy over her own body and its public presentation and, explicitly or implicitly, enlist the incident in an ongoing critique of Mormon modesty culture’s obsession with surface and assumption of the “male gaze.”2 Stirling herself proposed an odd and logically limber defense: “The dress I wore to the awards was fully lined with tan fabric.
  • Archaeological Starch Preservation and Methodological Parameters: Where Does Qaraqara Fit?

    Archaeological Starch Preservation and Methodological Parameters: Where Does Qaraqara Fit?

    ARCHAEOLOGICAL STARCH PRESERVATION AND METHODOLOGICAL PARAMETERS: WHERE DOES QARAQARA FIT? Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of the Ohio State University By Nicole Marie Hernandez, B.A. Department of Anthropology The Ohio State University 2015 Master’s Committee: Professor Julie S. Field, Advisor Professor Kristen J. Gremillion Professor Robert Cook Copyright by Nicole Marie Hernandez 2015 ABSTRACT Starch granule analysis is a relatively new methodology that can aid in various areas of archaeological research, including the determination of subsistence patterns and transitions, mobility, tool use, and ecology. This study examines undecorated ceramic fragments recovered from Qaraqara, Fiji for the presence of adhered starch. Although the three starch extraction methods used were not successful, the research process provides an opportunity to explain the lack of success by investigating ideal archaeological starch preservation parameters and extraction methodologies. Many factors contribute to the rarity of preserved starch granules in archaeological settings, including its bio-chemical structure, the decomposition of microorganisms in soil, chemical interactions, and environmental conditions. To determine ideal environmental conditions for starch preservation, successful extraction methods, and the effect of archaeological materials on success rates for extraction, a meta-analysis was conducted on a sample of archaeological studies that also sought to extract preserved starch. Key environmental variables that support the preservation of starch were identified, including a specific range of average temperatures, rainfall amounts, and altitudes. Using chi-square statistical tests, this study determined that an average temperature of 19-22° C significantly contributes to the preservation of archaeological starch.