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As Writers of Film and Television and Members of the Writers Guild Of
July 20, 2021 As writers of film and television and members of the Writers Guild of America, East and Writers Guild of America West, we understand the critical importance of a union contract. We are proud to stand in support of the editorial staff at MSNBC who have chosen to organize with the Writers Guild of America, East. We welcome you to the Guild and the labor movement. We encourage everyone to vote YES in the upcoming election so you can get to the bargaining table to have a say in your future. We work in scripted television and film, including many projects produced by NBC Universal. Through our union membership we have been able to negotiate fair compensation, excellent benefits, and basic fairness at work—all of which are enshrined in our union contract. We are ready to support you in your effort to do the same. We’re all in this together. Vote Union YES! In solidarity and support, Megan Abbott (THE DEUCE) John Aboud (HOME ECONOMICS) Daniel Abraham (THE EXPANSE) David Abramowitz (CAGNEY AND LACEY; HIGHLANDER; DAUGHTER OF THE STREETS) Jay Abramowitz (FULL HOUSE; MR. BELVEDERE; THE PARKERS) Gayle Abrams (FASIER; GILMORE GIRLS; 8 SIMPLE RULES) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEEPER) Peter Ackerman (THINGS YOU SHOULDN'T SAY PAST MIDNIGHT; ICE AGE; THE AMERICANS) Joan Ackermann (ARLISS) 1 Ilunga Adell (SANFORD & SON; WATCH YOUR MOUTH; MY BROTHER & ME) Dayo Adesokan (SUPERSTORE; YOUNG & HUNGRY; DOWNWARD DOG) Jonathan Adler (THE TONIGHT SHOW STARRING JIMMY FALLON) Erik Agard (THE CHASE) Zaike Airey (SWEET TOOTH) Rory Albanese (THE DAILY SHOW WITH JON STEWART; THE NIGHTLY SHOW WITH LARRY WILMORE) Chris Albers (LATE NIGHT WITH CONAN O'BRIEN; BORGIA) Lisa Albert (MAD MEN; HALT AND CATCH FIRE; UNREAL) Jerome Albrecht (THE LOVE BOAT) Georgianna Aldaco (MIRACLE WORKERS) Robert Alden (STREETWALKIN') Richard Alfieri (SIX DANCE LESSONS IN SIX WEEKS) Stephanie Allain (DEAR WHITE PEOPLE) A.C. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 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. -
Filosofická Fakulta Masarykovy Univerzity
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Bc. et Bc. Veronika Válkyová Aspects of Conversation in a Talk Show Discourse Master‟s Diploma Thesis Supervisor: Mgr., Jan Chovanec, Ph. D. 2015 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‟s signature I would like to express my gratitude to Mgr. Jan Chovanec Ph.D. for taking a chance on me. I would also like to thank Lenka for her never ending support and encouragement and Marika, my fellow traveler. Table of Contents Introduction ................................................................................................ 1 1. Media Discourse .................................................................................... 2 2. Spoken Discourse Analysis ..................................................................... 4 2.1 Conversation Analysis ...................................................................... 5 2.2 Gricean Pragmatics .......................................................................... 7 2.3 Interactional Sociolinguistics ............................................................ 8 3. Talk Show Characteristics ...................................................................... 9 3.1 Talk Show vs. Television Talk ........................................................... 9 3.2 History ........................................................................................ -
(FCC) Complaints About Saturday Night Live (SNL), 2019-2021 and Dave Chappelle, 11/1/2020-12/10/2020
Description of document: Federal Communications Commission (FCC) Complaints about Saturday Night Live (SNL), 2019-2021 and Dave Chappelle, 11/1/2020-12/10/2020 Requested date: 2021 Release date: 21-December-2021 Posted date: 12-July-2021 Source of document: Freedom of Information Act Request Federal Communications Commission Office of Inspector General 45 L Street NE Washington, D.C. 20554 FOIAonline The governmentattic.org web site (“the site”) is a First Amendment free speech web site and is noncommercial and free to the public. The site and materials made available on the site, such as this file, are for reference only. The governmentattic.org web site and its principals have made every effort to make this information as complete and as accurate as possible, however, there may be mistakes and omissions, both typographical and in content. The governmentattic.org web site and its principals shall have neither liability nor responsibility to any person or entity with respect to any loss or damage caused, or alleged to have been caused, directly or indirectly, by the information provided on the governmentattic.org web site or in this file. The public records published on the site were obtained from government agencies using proper legal channels. Each document is identified as to the source. Any concerns about the contents of the site should be directed to the agency originating the document in question. GovernmentAttic.org is not responsible for the contents of documents published on the website. Federal Communications Commission Consumer & Governmental Affairs Bureau Washington, D.C. 20554 December 21, 2021 VIA ELECTRONIC MAIL FOIA Nos. -
Fieldwork in Theology
Fieldwork in Theology Exploring the Social Context of God’s Work in the World Christian Scharen K Christian Scharen, Fieldwork in Theology Baker Academic, a division of Baker Publishing Group, © 2015. Used by permission. (Unpublished manuscript—copyright protected Baker Publishing Group) Scharen_FiedlworkTheology_LC_kf.indd iii 5/27/15 2:36 PM © 2015 by Christian Scharen Published by Baker Academic a division of Baker Publishing Group P.O. Box 6287, Grand Rapids, MI 49516-6287 www.bakeracademic.com Printed in the United States of America All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—for example, electronic, pho- tocopy, recording—without the prior written permission of the publisher. The only exception is brief quotations in printed reviews. Library of Congress Cataloging-in-Publication Data Scharen, Christian, 1966– Fieldwork in theology : exploring the social context of God’s work in the world / Christian Scharen. pages cm. — (The church and postmodern culture) Includes bibliographical references and index. ISBN 978-0-8010-4930-9 (pbk.) 1. Theology—Methodology. 2. Pastoral theology—Fieldwork. 3. Bourdieu, Pierre, 1930–2002. 4. Postmoderninsm—Religious aspects—Christianity. I. Title. BR118.S325 2015 261—dc23 2015007078 Scripture quotations are from the New Revised Standard Version of the Bible, copyright © 1989, by the Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. 15 16 17 18 19 20 21 7 6 5 4 3 2 1 Christian Scharen, Fieldwork in Theology Baker Academic, a division of Baker Publishing Group, © 2015. -
From Jay-Z to Dead Prez: Examining Representations of Black
JBSXXX10.1177/0021934714528953Journal of Black StudiesBelle 528953research-article2014 Article Journal of Black Studies 2014, Vol. 45(4) 287 –300 From Jay-Z to Dead © The Author(s) 2014 Reprints and permissions: Prez: Examining sagepub.com/journalsPermissions.nav DOI: 10.1177/0021934714528953 Representations of jbs.sagepub.com Black Masculinity in Mainstream Versus Underground Hip-Hop Music Crystal Belle1 Abstract The evolution of hip-hop music and culture has impacted the visibility of Black men and the Black male body. As hip-hop continues to become commercially viable, performances of Black masculinities can be easily found on magazine covers, television shows, and popular websites. How do these representations affect the collective consciousness of Black men, while helping to construct a particular brand of masculinity that plays into the White imagination? This theoretical article explores how representations of Black masculinity vary in underground versus mainstream hip-hop, stemming directly from White patriarchal ideals of manhood. Conceptual and theoretical analyses of songs from the likes of Jay-Z and Dead Prez and Imani Perry’s Prophets of the Hood help provide an understanding of the parallels between hip-hop performances/identities and Black masculinities. Keywords Black masculinity, hip-hop, patriarchy, manhood 1Columbia University, New York, NY, USA Corresponding Author: Crystal Belle, PhD Candidate, English Education, Teachers College, Columbia University, 525 West 120th Street, New York, NY 10027, USA. Email: [email protected] Downloaded from jbs.sagepub.com at Mina Rees Library/CUNY Graduate Center on January 7, 2015 288 Journal of Black Studies 45(4) Introduction to and Musings on Black Masculinity in Hip-Hop What began as a lyrical movement in the South Bronx is now an international phenomenon. -
Conan Case Study.Qxp
A PLACE FOR CONAN Problem: How do you keep momentum going to get a television star back on television? Solution: Combine the flexible nature of digital billboards with social networking sites to maintain an audience. BACKGROUND: On January 21st, NBC announced that Jay Leno would replace Conan O’Brien as host of The Tonight Show. Conan O’Brien was legally prohibited from appearing on television. OBJECTIVE: A little over a month later, Conan took to the social networking site Twitter and posted his first tweet on February 24th, showing the world he can still make us laugh, with or without tele- vision. Taking notice of Conan’s dillema, an outdoor company wanted to highlight Conan’s tweets until he could find another home on tele- vision. STRATEGY: A creative image and a micro-site, www.aplace- forconan.com, were built to feature Conan’s tweets live on digital billboards. The outdoor company sent an email to all of their markets with digital inven- tory asking that they run the campaign on any available spots between paid contracts on the boards. PLAN DETAILS: Within 24 hours, the campaign went live on 224 digital panels in 66 markets. OAAA, 2010 RESULTS: Within one hour of posting on Facebook, 1800+ users claimed they “liked” it and 200+ com- mented. Almost every comment was positive. If a negative comment was made, it was usually in reference to the fact that the user did not have a digital billboard in their market that they could view Conan’s Tweets on. Within five days, aplaceforconan.com received 55,197 unique hits and 78,714 total hits. -
Finding Aid to the Historymakers ® Video Oral History with James Poyser
Finding Aid to The HistoryMakers ® Video Oral History with James Poyser Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Poyser, James, 1967- Title: The HistoryMakers® Video Oral History Interview with James Poyser, Dates: May 6, 2014 Bulk Dates: 2014 Physical 7 uncompressed MOV digital video files (3:06:29). Description: Abstract: Songwriter, producer, and musician James Poyser (1967 - ) was co-founder of the Axis Music Group and founding member of the musical collective Soulquarians. He was a Grammy award- winning songwriter, musician and multi-platinum producer. Poyser was also a regular member of The Roots, and joined them as the houseband for NBC's The Tonight Show Starring Jimmy Fallon. Poyser was interviewed by The HistoryMakers® on May 6, 2014, in New York, New York. This collection is comprised of the original video footage of the interview. Identification: A2014_143 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award-winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole. -
Understanding Black Feminism Through the Lens of Beyoncé’S Pop Culture Performance Kathryn M
Seattle aP cific nivU ersity Digital Commons @ SPU Honors Projects University Scholars Spring June 7th, 2018 I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance Kathryn M. Butterworth Follow this and additional works at: https://digitalcommons.spu.edu/honorsprojects Part of the Feminist, Gender, and Sexuality Studies Commons, and the Race, Ethnicity and Post- Colonial Studies Commons Recommended Citation Butterworth, Kathryn M., "I Got Hot Sauce In My Bag: Understanding Black Feminism Through The Lens of Beyoncé’s Pop Culture Performance" (2018). Honors Projects. 81. https://digitalcommons.spu.edu/honorsprojects/81 This Honors Project is brought to you for free and open access by the University Scholars at Digital Commons @ SPU. It has been accepted for inclusion in Honors Projects by an authorized administrator of Digital Commons @ SPU. I GOT HOT SAUCE IN MY BAG: UNDERSTANDING BLACK FEMINISM THROUGH THE LENS OF BEYONCÉ’S POP CULTURE PREFORMANCE by KATHRYN BUTTERWORTH FACULTY ADVISOR, YELENA BAILEY SECOND READER, CHRISTINE CHANEY A project submitted in partial fulfillment of the requirements of the University Scholars Program Seattle Pacific University 2018 Approved_________________________________ Date____________________________________ Abstract In this paper I argue that Beyoncé’s visual album, Lemonade, functions as a textual hybrid between poetry, surrealist aesthetics and popular culture—challenging the accepted understanding of cultural production within academia. Furthermore, Lemonade centers black life while presenting mainstream audiences with poetry and avant-garde imagery that challenge dominant views of black womanhood. Using theorists bell hooks, Stuart Hall, Patricia Hill- Collins and Audre Lorde, among others, I argue that Beyoncé’s work challenges the understanding of artistic production while simultaneously fitting within a long tradition of black feminist cultural production. -
Neuhoff, Laura-Brynn.Pdf (929Kb)
“THE BIGGEST COLORED SHOW ON EARTH”: HOW MINSTRELSY HAS DEFINED PERFORMANCES OF AFRICAN AMERICAN IDENTITY FROM 19TH CENTURY THEATER TO HIP HOP A Senior Thesis submitted to the Faculty of the College of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Bachelor of Arts in American Studies By Laura-Brynn Neuhoff Washington, D.C. April 26, 2017 “THE BIGGEST COLORED SHOW ONE EARTH”: HOW MINSTRELSY HAS DEFINED PERFORMANCES OF AFRICAN AMERICAN IDENTITY FROM 19TH CENTURY THEATER TO HIP HOP Laura-Brynn Neuhoff Thesis Adviser: Marcia Chatelain, Ph.D. ABSTRACT This senior thesis seeks to answer the following question: how and why is the word “minstrel” and associated images still used in American rap and hip hop performances? The question was sparked by the title of a 2005 rap album by the group Little Brother: The Minstrel Show. The record is packaged as a television variety show, complete with characters, skits, and references to blackface. This album premiered in the heat of the Minstrel Show Debate when questions of authenticity and representation in rap and hip hop engaged community members. My research is first historical: I analyze images of minstrelsy and reviews of minstrel shows from the 1840s into the twentieth century to understand how the racist images persisted and to unpack the ambiguity of the legacy of black blackface performers. I then analyze the rap scene from the late 2000-2005, when the genre most poignantly faced the identity crisis spurred by those referred to as “minstrel” performers. Having conducted interviews with the two lyricists of Little Brother: Rapper Big Pooh and Phonte, I primarily use Little Brother as my center of research, analyzing their production in conjunction with their spatial position in the hip hop community. -
Biographical Description for the Historymakers® Video Oral History with James Poyser
Biographical Description for The HistoryMakers® Video Oral History with James Poyser PERSON Poyser, James, 1967- Alternative Names: James Poyser; Life Dates: January 30, 1967- Place of Birth: Sheffield, England Work: Philadelphia, PA Occupations: Producer; Musician; Songwriter Biographical Note Songwriter, producer and musician James Jason Poyser was born in Sheffield, England in 1967 to Jamaican parents Reverend Felix and Lilith Poyser. Poyser’s family moved to West Philadelphia, Pennsylvania when he was nine years old and he discovered his musical talents in the church. Poyser attended Philadelphia Public Schools and graduated from Temple University with his B.S. degree in finance. Upon graduation, Poyser apprenticed with the songwriting/producing duo Kenny Gamble and Leon Huff. Poyser then established the Axis Music Group with his partners, Vikter Duplaix and Chauncey Childs. He became a founding member of the musical collective Soulquarians and went on to write and produce songs for various legendary and award- winning artists including Erykah Badu, Mariah Carey, John Legend, Lauryn Hill, Common, Anthony Hamilton, D'Angelo, The Roots, and Keyshia Cole. He was credited as writer/producer for multiple songs on Erykah Badu’s debut album, Baduizm; has writer, producer and musician credits on Lauryn Hill’s multiple Grammy-winning album, The Miseducation of Lauryn Hill; was a musician on Adele’s acclaimed album, 21; and served as executive co-producer and writer on Al Green’s Lay it Down. He was also the executive producer on Badu's highly celebrated albums, Mama's Gun and Worldwide Underground. He is an active session musician and has contributed to the works of other artists such as Norah Jones, Eric Clapton, Joss Stone, Ziggy Marley, Macy Gray and Femi Kuti. -
From Colorism to Conjurings: Tracing the Dust in Beyoncé's Lemonade Cienna Davis Freie Universitat, Berlin, Germany, [email protected]
Taboo: The Journal of Culture and Education Volume 16 | Issue 2 Article 4 September 2017 From Colorism to Conjurings: Tracing the Dust in Beyoncé's Lemonade Cienna Davis Freie Universitat, Berlin, Germany, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/taboo Recommended Citation Davis, C. (2018). From Colorism to Conjurings: Tracing the Dust in Beyoncé's Lemonade. Taboo: The Journal of Culture and Education, 16 (2). https://doi.org/10.31390/taboo.16.2.04 Taboo,Cienna Fall Davis 2017 7 From Colorism to Conjurings Tracing the Dust in Beyoncé’s Lemonade Cienna Davis Abstract Colorism creates relentless tension and pressure in the lives of Black women. Pop-star Beyoncé Gisele Knowles-Carter is an interesting case in the discussion of colorism because her career has expressed a rich intimacy to Southern Black cul- ture and female empowerment while also playing into tropes of the mulatta “fancy girl,” whose relative proximity to whiteness adheres social value within mainstream culture. Finding aesthetic and thematic parallels between Beyoncé’s recent project Lemonade (2016) and Julie Dash’s cult-classic film Daughters of the Dust (1991) I draw a critical connection between Yellow Mary Peazant and Beyoncé, the prodigal child and the licentious “post-racial,” pop-star to argue that while Lemonade may not present the same critique of exclusionary Black womanhood present within Daughters of the Dust, reactions to the Beyoncé’s visual album and the “Formation” music video inadvertently demonstrate the longevity of harmful colorist prejudices and the disparaging of Black female sexual and creative agency within the Black community.