DOCSLIB.ORG

Rhythm Summer Camps 2021 Packet

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rhythm Summer Camps 2021 Packet RRRhhhyyyttthhhmmm SSSuuummmmmmeeerrr 222000222111 Dance is fun all year long at Rhythm! Fill your summer with dancing fun by registering today for one or more of our fun Rhythm Summer Camps! Regardless of your age or skill level, there’s a super fun summer dance camp for everyone at Rhythm! Space is limited and the early discounts expire, so register early to guarantee your spot and the lowest rate! 3980 Shallowford Road • Marietta, GA 30062 • 770-998-6507 [email protected] • www.rhythmdancecenter.com MMYY DDAANNCCEE DDEEBBUUTT This super fun, three-day camp is the perfect introduction to dance for your tiniest tot. Each day, your dancer will learn ballet and tap basics in a fun and positive environment. Age: 2.5 Dates: June 15 - 17 9:00-9:45 a.m Cost: $55 TTwwiirrll DDaannccee && ppllaayy PPaarrttiieess Come dance and play with us for two hours of non-stop fun in one or more of our Twirl Dance & Play Parties! Dancers will experience ballet, tap and creative movement dancing in a super fun and encouraging atmosphere. Meet new friends, make a fun craft and have a twirl-a-riffic time! Ages: 3 - 5 Time: 9:30-11:30a.m. Cost: $35 per party Bring your own snack to enjoy! Parties: 3-Party June 14: The Fancy Freeze: A Frozen Adventure Punch Card June 25: Dancing with my Favorite Princess June 28: Aloha Moana! $9 0 July 8: Mickey & Minnie (Only available through May 15!) July 12: Olaf's Snowy Shuffle July 27: PomPom Unicorn Pastel Popstars & Rainbow Rockers -- K--2nd Grade Dates: July 13-15 Time: 9:00a.m-12:00p.m Cost: $160 or $140 if paid before May 15 No need to hold the drama or calm down for this fun + sparkly summer dance camp! If you’re a super fan of Taylor Swift, Jojo or the Descendants, then you need to jump right on this trendy tour bus as one of the topnotch dance crew members for Pastel Popstars and Rainbow Rockers! Soon, you’ll be on your way to showing off all your jazz moves and hip hop grooves. Your fans are sure to be starstruck when you dance your way to your concert debut! www.rhythmdancecenter.com • 770.998.6507 Camp Confetti --- Preschool & Kindergarten -- Ages 3 ---5 Camp Confetti focuses on multiple genres of dance and engages your petite dancer in a creative and lively setting! These fun + fancy camps include three-day or five-day camp options. See our fun themes for each one below! Cost: 5-Day Camps: $260 or $235 if paid before May 15 3-Day Camps: $160 or $140 if paid before May 15 Bring your own snack to enjoy! 55--DDaayy CCaammppss -- AAggeess 33--55 Dance PAWty with My Pet Dates: June 28-July 2 Time: 9:00a.m-12:00p.m Raise your paws if you love Paw Patrol and Secret Life of Pets because you’ll PAWSitively love this fun tap, ballet and creative movement dance camp! Tiny dancers can bring their favorite stuffed pet (dog, cat, character, anything goes!) and together they’ll unleash the fun on four PURRfect dancing adventures: The Paws & Claws Pet Spa, Pet PAWrade, Museum of Pet PAWtraits and the Disco Dance PAWty! At each stop along the way, dancers and pets will dance together and earn paw prints in their Pet PAWfolios. This dance PAWty will be a fun time…FUR sure! The Snowflake Spectacular: A Frozen Adventure Dates: July 19-23 Time: 9:00a.m-12:00p.m This camp will be love at frost sight for tiny dancers who love Olaf, Anna, Elsa and friends! No matter the season, you will sparkle with excitement at The Snowflake Spectacular, a brrr-tiful winter carnival filled with whimsical dancing and wondrous wintry games. Show yourself some fun frolicking in the Frozen Funhouse and then sled on over to a ballet-skate playdate with your favorite snowmen. Through a flurry of glimmering crafts and frozen dancing fun, there’s snow way of escaping the excitement of this frosty ballet and tap adventure! 33 DDaayy CCaammppss -- AAggeess 33--55 Twirltopia Princess Academy Dates: June 22-24 Time: 9:00a.m-12:00p.m This is not your average Princess camp...Cool jewels rule at the Twirltopia Princess Academy! But the Royal Queen only grants the three sparkling crown jewels to princesses who prove they are confident, fun + friendly, and kindhearted! Your princess (or prince charming) will love this royal ballet and tap adventure dancing through the magical kingdom of Twirltopia and learning important lessons from their animal friends who will help them reach their crowning moment at the Palace Princess Crown Ball! Sparkleberry Fairy Garden Dates: July 7-9 Time: 9:00a.m-12:00p.m Your petite dancer will not want to miss the Sparkleberry Fairy Garden annual party! Dancers will join fairy friends, fancy flamingos, and a colorful rainbow of dancing fruits and flowers for a fairy sparkling good time in both ballet and tap! This magical camp is full of pixie dust, dancing, games, glittery crafts and so much more! www.rhythmdancecenter.com • 770.998.6507 CCaammpp RRhhyytthhmm FFrroozzeenn Journey into the FUNknown with us at Camp Rhythm! This fun-themed, weeklong event is always our most popular camp! Join Elsa, Anna, Olaf, Kristoff, and Sven for an enchanting week to explore various styles of dance and musical theatre. In addition to dancing, acting and singing, you’ll enjoy a different fun craft each day! The week will end with a grand finale musical theatre performance! Your dancers will not want to miss this fun-filled week of dance! This is an option for Petite, Mini, or Junior Spotlight. Grades: 2nd-6th Dates: June 14-18 Time: 9:00 a.m-4:00 p.m. (Dancers bring your lunch) Cost: $385 or $335 if paid before May 15 CCaammpp CCoonnffeettttii EElleemmeennttaarryy:: GGrraaddeess 11sstt---55tthh Peace, Love & Remix: That 70s Dance Camp Right on! Calling all groovy girls & guys who love tie-dye, bell bottoms and Polaroid pictures for this 70s-inspired jazz and hip hop camp! Peace, Love and Remix dancers will work hard to earn three Flower Power Patches through groovy dance activities and retro crafts — including fun photo ops with instant cameras and a funky 70s mood board! Then, get ready to perform live at the Retro Remix finale! This dance camp is sure to be far out and groove- tastic! This is an option for Petite, Mini, and Junior Spotlight Dates: June 21-25 Time: 9:00 a.m-12:00 p.m. Cost: $260 or $235 if paid by May 15 The Big Time: Your Name in Lights! Get ready to raise the curtain on your imagination and create a fun variety show on video with your dance friends! In this most sensational jazz and musical theater camp, dancers will produce and star in their own big time video! From naming the show and designing the set to choosing the acts and creating choreography, you’ll play a starring role in every aspect of this production. And, you'll shine like the star you are when you see your name in lights on opening night! Dates: July 12-16 Time: 9:00 a.m-12:00 p.m. Cost: $285 or $260 if paid by May 15 www.rhythmdancecenter.com • 770.998.6507 TTeeeenn CCaammpp This 4-day teen camp will include every style of dance for teens including jazz, contemporary, ballet, tap and hip hop. These camps are great for teens who want to explore different dance styles or for intermediate level teen dancers to stay on top of their training during the summer months. Options are available to take individual styles, contact us directly for pricing. Teen/Senior Spotlight Dancers will be required to take this camp. Teen Camp - Intermediate Level - Grades 6th and up Dates: June 21-24 Time: 1:00-6:30 p.m. (Times may alter slightly) Cost: $310 or $285 if paid by May 15 OOppeenn CCllaasssseess We will offer approximately 20-30 Open Classes this summer, and we will announce dates in late Spring 2021. Open classes do not require pre- registration! You are welcome to just show up and pay by the class! Or, we also offer class cards that can save you money on multiple classes. Beginners are welcome to attend, but Open Classes will be taught at an Intermediate/Advanced level, unless otherwise indicated. Single Class: $20 5 Class Card: $90 10 Class Card: $150 PPeerrffoorrmmiinngg CCoommppaannyy IInntteennssiivveess These intensives are MANDATORY for ALL members of Rhythm's 2021-2022 Companies. We have a very strict Summer Intensive policy, so if your dancer is considering auditioning in the Spring, you will need to save these dates. Auditions for our Company will be mid-end of April. Company Placements will be early May. Mini Stars Summer Intensive $260/$230* July 19-22 Connection Summer Intensive $260/$230* July 26-29 Connection Tap Company Intensive $48.00 (in addition to Intensive Cost) Fusion Summer Intensive $360/$320* July 19-22 Edge Summer Intensive $400/$350* August 5-8 *Pay in full for intensive by May 15th to get discounted rate. *If you are a current member of a Rhythm Dance Center Performing Company (Mini Stars, Connection, Fusion, Edge) you may pay the Intensive rate for your existing Performing Company. After Company Auditions, we will apply this amount to your Company Intensive placement for the 2020-2021 Season and you can pay the difference (if needed). www.rhythmdancecenter.com • 770.998.6507.
Load more

Recommended publications
  • Sexism in the 1980'S Music Industry
    Clark 1 Maureen Clark Senior Thesis Dr. Paul Schuette 3/24/2019 Girls Just Wanna Have Equality: Sexism in the 1980’s Music Industry By the 1980s, women were finally making their way into the American workforce. One can see that in many aspects of 1980s pop culture from the shoulder pads in women's suits in an attempt to make them appear more masculine and powerful as well as female empowerment movies like “Working Girl”. However, this rise in female empowerment was definity experienced most within the music, where female artist like Madonna to The Go-Go's were dominating the charts and the workplace. Despite the success that they were achieving, however, most women were still struggling to be seen as authentic or genuine, and most importantly they were fighting to be on an equal playing field as men. Webster's Dictionary defines marginalized as: “(of a person, group, or concept) treated as insignificant or peripheral”. Women have always been a marginalized group within the music industry since its conception, just like in almost every aspect of history. However, by the 1980s, women were entering the workforce at a more rapid rate than ever before, this affected every aspect of American culture along with its music. Despite more representation within the workforce, women in music were still often dismissed, despite the fact that many women and girl groups were making some of the most successful music during that decade. One reason for Clark 2 this had to do with the rise of MTV along with the sexism that has always existed in the music industry.
    [Show full text]
  • Universidade Federal Fluminense Instituto De Letras Programa De Pós-Graduação Em Estudos De Linguagem
    UNIVERSIDADE FEDERAL FLUMINENSE INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DE LINGUAGEM VICTOR DE LIMA REGIS QUANDO AS CAPAS DE ÁLBUMS CONTAM UMA HISTÓRIA Estudo semiótico do percurso de Taylor Swift NITERÓI 2021 VICTOR DE LIMA REGIS QUANDO AS CAPAS DE ÁLBUMS CONTAM UMA HISTÓRIA Estudo semiótico do percurso de Taylor Swift Dissertação apresentada ao Programa de Pós-Graduação em Estudos de Linguagem da Universidade Federal Fluminense, no primeiro semestre de 2021, como requisito parcial para a obtenção do título de Mestre em Estudos da Linguagem. Orientadora: Profª. Drª. Silvia Maria de Sousa NITERÓI 2021 Ficha catalográfica automática - SDC/BCG Gerada com informações fornecidas pelo autor R337q Regis, Victor de Lima Quando as capas de álbuns contam uma história : Estudo semiótico do percurso de Taylor Swift / Victor de Lima Regis ; Silvia Maria de Sousa, orientadora. Niterói, 2021. 92 f. Dissertação (mestrado)-Universidade Federal Fluminense, Niterói, 2021. DOI: http://dx.doi.org/10.22409/POSLING.2021.m.13521973751 1. Semiótica. 2. Capas de álbuns. 3. Taylor Swift. 4. Cantoras pop. 5. Produção intelectual. I. Sousa, Silvia Maria de, orientadora. II. Universidade Federal Fluminense. Instituto de Letras. III. Título. CDD - Bibliotecário responsável: Debora do Nascimento - CRB7/6368 VICTOR DE LIMA REGIS QUANDO AS CAPAS DE ÁLBUMS CONTAM UMA HISTÓRIA Estudo semiótico do percurso de Taylor Swift Dissertação apresentada ao Programa de Pós-Graduação em Estudos de Linguagem da Universidade Federal Fluminense, no primeiro semestre de 2021, como requisito parcial para a obtenção do título de Mestre em Estudos da Linguagem. Niterói, 25 de Fevereiro de 2021 BANCA EXAMINADORA __________________________________ Prof.ª Dr.ª Silvia Maria de Sousa (Orientadora) Universidade Federal Fluminense (UFF) __________________________________ Profª.
    [Show full text]
  • De Da Ft Punk À Stromae ANGLAIS
    From Daft Punk to Stromae, how global is ‘French Music’? By Virginie Berger, translation Emma Dovey. Who is the international audience of the francophone music industry? How can we explain the export successes of Daft Punk and Stromae? Is French rap music’s international investment paying off? While for a long time the appeal of making money was not associated with the cultural economy, the invention of marketing and the internet succeeded in transforming some French artists into products that are consumed all over the world. In order to better understand how the French music scene adopted a strategy of profit and internationalisation, the French Touch movement is telling to say the least. It deciphers a musical style that has transcended ‘underground’ music and become mainstream. To explain this transformation, one supposition suggests that 1970s pop stars coincided with the emergence of marketing theories. At this point in time, thanks to rock music and supermarket shelves which were overflowing with Elvismania and Beatlemania merchandise, North America and Great Britain were innovating, transforming and marking the birth of musical merchandising.1 A few years later, disco music, the predecessor of the clubbing2 and DJing scenes, was emerging in the United States. At the dawn of the 1980s, a major development then took place which suggested a more industrial and more cyclical music genre inspired by pop, funk and soul. This new genre, closely related to party and dance culture, was an ideal birthplace for the worthy heir of disco: house music. This very music would then develop at the start of the 21st century, as an undercurrent in Madonna and Daft Punk’s global smash hits.
    [Show full text]
  • Media Socialisation and the Culturally Dominant Mode
    https://doi.org/10.21240/mpaed/00/2006.06.07.X a more actual wording of the available theories, a specific socialization process emerges with the complex of multimedia, intertextual cultural products, landscapes and mediated spaces of childhood. In general the concept of socialization deals with the typical and sustainable personality in a society. In the context of the industrial society with a variety of standardized programme offer and cultural products which are consumed and acquired by the individual, media as the easily visible part of these processes influence, perhaps mould the formation of a typical personality.1 The interrelation of programme offer, cultural products, situations of activi- Ben Bachmair 7.6. 2006 ties, reception and acquisition is moving. In this process the relevance of the coherent media like the film with distinct narrative story is diminishing. Therefore the relevant argument to discover a new combined cultural Media socialisation and the culturally dominant mode dynamic between the media sphere and socialization is the diminishing of representation – On the way from the coherent media function of the coherent media. Looking at the conglomerate of media, to semiotic spaces, the example of Popstars commodities and events of Popstars or similar phenomena like other casting shows, game programmes like YU-Gi-Oh or real life shows like Big The cultural relation between media and its users is undergoing transition. Brother the emerging irrelevance of the traditional coherent media like a One influence comes from the changing quality of the interrelation of film leaps to the eye. Therefore this essay proposes that multimedia and media, commodities and events.
    [Show full text]
  • Gratifications About Reality Television “The Voice of China” Among Chinese Audience
    GRATIFICATIONS ABOUT REALITY TELEVISION “THE VOICE OF CHINA” AMONG CHINESE AUDIENCE GRATIFICATIONS ABOUT REALITY TELEVISION “THE VOICE OF CHINA” AMONG CHINESE AUDIENCE Xin Zhao This Independent Study Manuscript Presented to The Graduate School of Bangkok University in Partial Fulfillment of the Requirements for the Degree Master of Communication Arts 2014 ©2014 Xin Zhao AllRight Reserved Xin Zhao, Master of Communication, July 2014, Graduate School, Bangkok University. Gratifications about Reality Television “The Voice of China” among Chinese Audience (66 pp.) Advisor : Assoc. Prof. Boonlert Supadhiloke, Ph. D. ABSTRACT The main objective of this study is to apply the uses and gratifications approach to investigate “The Voice of China”, the most successful talent show in china for past two years. The research examines the motives for watching and satisfaction of audience through comparing the gratifications sought and gratifications obtained. A quantitative survey is be used to collect data. The samples are selected by convenience sampling method and all of the samples are 231. The mean and standard deviation are tabulated and analyzed by using paired sample t-test. The finding suggests that the primary motives for watching “The Voice of China” among Chinese audiences are social interaction, entertainment and relaxing, but not vicarious participation or perceived reality. And the gratifications are well obtained indicates high audience satisfaction for the program content. v ACKNOWLEDGMENT My experience as a graduate student has been an exciting and challenging journey. I would like to acknowledge all of my committee members for their helpful suggestions and comments. First, I would like to thank Dr. Boonlert Supadhiloke, for his direction on this IS paper.
    [Show full text]
  • Evaluating MTV Emas 2011 with Belfast Music Week
    Evaluating MTV EMAs 2011 with Belfast Music Week EVALUATING MTV EMAS 2011 WITH BELFAST MUSIC WEEK 1 The week the world came to Belfast Belfast Music Week featuring the MTV EMAs 2011 The 2011 MTV EMAs, alongside Belfast Music Week, was a landmark event for Belfast - placing the city firmly on the world musical stage. And as is only fitting for a world class event, the figures are pretty impressive: • 1.2 billion – the number of people who watched the MTV EMAs across the globe • 669 million – the number of media news opportunities generated • £22 million – the total economic impact for Belfast • £10 million – the amount of additional tourism revenue for the city • 8,000 – the number of room nights booked in Belfast hotels • 2,399 – the number of media articles released • 100% - the percentage of people who would recommend attending Belfast Music Week events • 33,500 - the number of people who attended Belfast Music Week • 170 - the number of gigs during Belfast Music Week The EMAs brought the biggest international acts to Belfast. And it wasn’t just the people of Belfast who were inspired by The ‘who’s who’ of the pop world, including Coldplay, Lady the EMAs. The world’s media arrived at our door expecting Gaga, Bruno Mars, Queen, Jessie J and Justin Bieber all the professionalism associated with such a high profile appeared at the city’s Odyssey Arena. event. Once again we did not disappoint. The enthusiasm of Belfast’s people was felt around the globe through press Meanwhile, local heroes Snow Patrol played a free open-air articles, webcasts and television broadcasts.
    [Show full text]
  • Popstars! Rocks the Stage PAGE 18
    drouin secondary college news SECONDARY C O L L E G E EDITION: 55 PAGE 10 DATE: TUESDAY 22ND AUGUST 2017 Popstars! Rocks the Stage PAGE 18 Bridie Treks Kokoda PAGE 4 We value: Achievement, Respect, Commitment, Community Principal Team Report Deb Gentle Michael Wilson Rebecca Williams Rob Monk POPSTARS! Hayley was always determined to achieve her goals both in and out of the classroom. But one strong memory I have It was wonderful to begin this term with two weekends devoted of Hayley is her passion for football. Hayley is an inaugural to the performance of “Popstars – the 90s Musical”. Students member of the Women’s Australian Football League, playing and staff worked together to produce a very entertaining for – The Western Bulldogs. Her message was never to lose and talent packed production. On the final night the joy sight of your goal, but be prepared to work hard for it and and goodwill amongst all who participated was obvious. don’t be discouraged by setbacks. Collaborative projects like this are hugely beneficial to the learning of students and to the formation of positive PROGRESS REPORTS relationships within our community. Congratulations to the students, Ms Amy Moss and the many staff and volunteers who Students & teachers are now well into Semester 2 classes and gave your expertise and time. And thanks to the parents who learning activities. The first Progress Report for Semester 2 will supported our students and staff over the many months this be available this week. This will give students and parents an production was in the making.
    [Show full text]
  • 2 Miranda Pires
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Biblioteca Digital de Periódicos da UFPR (Universidade Federal do Paraná) Curitiba, v. 2, n. 1, p. 17-34, abril 2012 RECONSTRUINDO A IMAGEM/IDENTIDADE DA SELEÇÃO BRASILEIRA DE FUTEBOL: A “ERA PÓS-DUNGA” NA MÍDIA LYANA VIRGÍNIA THÉDIGA DE MIRANDA Universidade Federal de Santa Catarina / Brasil [email protected] GIOVANI DE LORENZI PIRES Universidade Federal de Santa Catarina / Brasil [email protected] Resumo O presente trabalho teve por objetivo identificar e analisar o discurso midiático como interlocutor social do projeto de reconstrução da imagem da seleção brasileira de futebol no período denominado Era pós-Dunga . Para tanto, apoia-se em bases teóricas sobre questões de identidade, nacionalismo e comportamento midiático, relacionando-os ao esporte (neste caso, o futebol). O corpus de pesquisa é formado por 38 matérias jornalísticas veiculadas em meios impressos, digitais e televisivos, examinados por meio da Análise de Conteúdo (AC) e de aproximações aos princípios da Análise do Discurso (AD). A pesquisa demonstrou que, ao serem institucionalizados e alavancados pela cobertura midiática, a celebração do nacionalismo, o sentimento de “brasilidade” e a autoestima afloram e materializam significados do “ser brasileiro” numa só representação: a seleção brasileira de futebol, tomada por táticas simbólicas de união e identificação da audiência pela mídia, como espelho da imagem do próprio país. Palavras-chave : Futebol; Identidade; Discurso midiático; Copa do Mundo da FIFA. RECONSTRUCCIÓN DE LA IMAGEN/IDENTIDAD DE LA SELECCIÓN BRASILERA DE FÚTBOL: LA “ERA POS-DUNGA” EN LOS MEDIOS DE COMUNICACIÓN Resumen El presente trabajo tuvo por objetivo identificar y analizar el discurso mediatico como interlocutor social del proyecto de reconstrucción de la imagen de la selección brasilera de fútbol en el período denominado Era pos-Dunga .
    [Show full text]
  • Thank You Parnell District School Community!
    Newsletter 10 13th June 2018 Kia Ora whanau Thank you Parnell District School Community! Healthy community week We have had three major community events in the last two weeks that absolutely could not have happened without the support of our community. First, I’d like to thank all the parents, whanau, and members of our community who came in to share their skills and knowledge with our children in healthy community week. I had the pleasure of sitting in on some of the sessions, and have heard a lot more from our kids about how great the sessions were. We are so fortunate to have such incredible resources in our community, and our children get so much out of having the opportunity to hear from you all. Whanau Day Healthy community week ends with whanau day, and what an amazing success our day was! Thank you so much to the 30 stall holders who gave of their time and resources to provide delicious tastes of the food of their cultures. When speaking with our students, the opportunity to eat around the world and enjoy treats from Asia, Europe, north and south America, through the pacific and home to New Zealand is truly special, and a great exemplification of what makes Parnell District School such a truly special place. We could not run such a day without the immense support of our community. We would also like to thank our friends at the Rose Park Hotel and the Quality Inn for their help in providing the chafing dishes to keep our food warm.
    [Show full text]
  • Making Over the Talent Show.” in Palmer, Gareth
    Pre-publication manuscript of: Redden, G. (2008). “Making Over the Talent Show.” In Palmer, Gareth. 1 (ed), Exposing Lifestyle Television: The Big Reveal. Ashgate, pp 129-144. Making over the Talent Show One of the concerns of recent studies of popular television has been to try to develop understandings of cultural democratisation (Holmes and Jermyn 2004, 9). Much contemporary lifestyle programming revolves around the illustration of good, beneficial choices in the lives of those who act as participants. Of great importance is the characterisation of the people on whom these discourses depend: in the main they are so- called ordinary people who become the focus of scrutiny. This category does not simply arise from marking of persons in terms of class, race, gender, or sexuality so as to equate citizens with normative social identities. The ordinariness at stake is better thought of as a kind of layperson status. Members of the public are shown going about their everyday lives. Their televisual interest is predicated on their initial lack of qualification or complete competence in some aspect of life, and it is this that warrants the intervention of their counterparts: the experts whose advice enables a process of apparent improvement that is the very core of the shows. As Lisa Taylor puts it with reference to gardening television, ‘ordinari-ization’ strategies ‘construct a discourse of lifestyle achievability and accessibility’ (2002, 480). Experts act as counsellors, assisting their clients in fulfilling their stated desires. In the course of this their superior professional knowledge in matters of taste and behaviour is redistributed to the participants, and by extension to the viewing population as a whole.
    [Show full text]
  • Authenticity and X Factor: Narratives of Stardom, Background/Aspiration and Performance
    Authenticity and X Factor: Narratives of Stardom, Background/Aspiration and Performance If success is to be measured numerically the UK X Factor is a triumph of superlatives. An average of 16.55 million viewers tuned in during the two-hour final episode on 11th December 20101, making it the most watched programme of the year on British television2. The winner, Matt Cardle, sold 439,000 copies of his single in the week following his victory3 and, according to The Guardian, the final weekend of the 2010 series raised £25 million in advertising revenue for its host channel ITV4. X Factor is a television format that grew out of ‘pop reality’ shows Popstars (UK, 2001-2) and Pop Idol (UK, 2002-3) and was established in 2004. The basic premise of the programme is to ‘discover’ a new popstar from an ever-dwindling pool of contestants. It begins with the ‘auditions’ section where the judges (Simon Cowell, Louis Walsh, Dannii Minogue and Cheryl Cole) whittle thousands of auditionees down to a ‘top 12’. These twelve acts are divided into four groups with each group assigned to a particular judge as their ‘mentor’. The so-called ‘live shows’ now begins in which each act must sing live every week5. Through a mixture of audience voting and judges decisions, one act is sent home every week, eventually leaving one to be crowned X Factor champion. Alongside this phenomenal commercial success, X Factor continues to be criticised in much of the UK media. Criticism tends to evoke an Adornian notion of the culture 1 http://www.guardian.co.uk/media/table/2010/dec/21/top-tv-shows-2010 2 http://www.barb.co.uk/report/weeklyTopProgrammesOverview? 3 http://www.nme.com/news/nme/54322 4 http://www.guardian.co.uk/media/2010/dec/08/x-factor-ad-revenues industry, condemning the show as a commercialised enterprise intent on churning out banal and commoditised art (Adorno & Horkheimer, 1944: 121).
    [Show full text]
  • Les Œufs D'or De La Télé-Réalité
    REPÈRES ET TENDANCES AUDIOVISUEL Les œufs d’or de la télé-réalité YVES -M ARIE LABÉ * Lancée en France en 2001 avec « Loft Story », la rassembler le plus grand nombre télé-réalité est devenue une manne financière possible de téléspectateurs. pour les chaînes privées. Née aux Etats-Unis il y Le genre n’est pas si récent : il est né il y a déjà quelque trente ans. Le a dix ans, standardisée dans le concept d’émis - premier programme « historique » sion « Big Brother », puis déclinée dans une ving - de télé-réalité a émergé en 1973 aux L Etats-Unis, sur la chaîne publique taine de pays sur des thèmes et dans des PBS. Il empruntait alors au genre contextes divers, elle s’est particulièrement bien documentaire et, baptisé An Ameri - can Family, proposait de filmer sur acclimatée en France. Elargissant les fonction - une longue période la « vraie vie » nalités de la télévision et son rapport avec le de « vraies gens » – en l’occurrence, des anonymes sélectionnés selon public en jouant sur l’interactivité, elle représente divers critères liés au thème de pour les opérateurs une diversification très ren - l’émission – et de la raconter sur plusieurs épisodes. Cette série essai - table puisque, outre les recettes de publicité liées mera ensuite à travers plusieurs pays à ses scores d’audience, elle en crée d’autres à industriels, à commencer par la Grande-Bretagne, puis l’Australie. partir des appels des téléspectateurs, des ventes Par la suite, la BBC, devenue coutu - de disques et d’autres produits dérivés. mière de la diffusion d’émissions de ce type, lance Airport, dans laquelle oana, Jenifer ou Nolwenn.
    [Show full text]