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Experience Glee
FREE YOUR A three-week Newspapers In Education program in partnership gleewith The Puyallup Fair Jingle History What is Find (and A jingle can be thought of as a musical commercial. Jingles began in the 1920s, about the time commercial radio became popular in the United States. Most jingles you hear on radio and television tend to be share!) your short and upbeat (all the better to get stuck in your head!) They are designed to make you feel happy and associate good feelings with the product they are advertising. They are often fun and easy to sing glee? — some jingles are so catchy that they become part of our cultural memory, something that everyone from a particular time and place What is the first thing you think of when you hear glee might remember. the word “glee?” You may think of the feelings The “Do the Puyallup” jingle has celebrated the Fair since 1976. associated with glee, or feeling “gleeful,” which Originally it was a slogan created by famed advertising copywriter can be described as extremely happy. Or your first Denny Hinton. Fellow copywriter Saxon Rawlings got out his guitar, thoughts might be of a “glee club,” a group of started writing lyrics and the rest is history. The Fair loved it. And it singers like the ones in the television show Glee. became a hit. The jingle has been sung in a variety of styles, including There is no correct answer to this question — glee rock, country or gospel. Listen to different versions on the Fair website: means different things to different people. -
Glee: Uma Transmedia Storytelling E a Construção De Identidades Plurais
UNIVERSIDADE FEDERAL DA BAHIA INSTITUTO DE HUMANIDADES, ARTES E CIÊNCIAS PROGRAMA MULTIDISCIPLINAR DE PÓS-GRADUAÇÃO EM CULTURA E SOCIEDADE ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Salvador 2012 ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Dissertação apresentada ao Programa Multidisciplinar de Pós-graduação, Universidade Federal da Bahia, como requisito parcial para obtenção do título de mestre em Cultura e Sociedade, área de concentração: Cultura e Identidade. Orientador: Prof. Dr. Djalma Thürler Salvador 2012 Sistema de Bibliotecas - UFBA Lima, Roberto Carlos Santana. Glee : uma Transmedia storytelling e a construção de identidades plurais / Roberto Carlos Santana Lima. - 2013. 107 f. Inclui anexos. Orientador: Prof. Dr. Djalma Thürler. Dissertação (mestrado) - Universidade Federal da Bahia, Faculdade de Comunicação, Salvador, 2012. 1. Glee (Programa de televisão). 2. Televisão - Seriados - Estados Unidos. 3. Pluralismo cultural. 4. Identidade social. 5. Identidade de gênero. I. Thürler, Djalma. II. Universidade Federal da Bahia. Faculdade de Comunicação. III. Título. CDD - 791.4572 CDU - 791.233 TERMO DE APROVAÇÃO ROBERTO CARLOS SANTANA LIMA GLEE: UMA TRANSMEDIA STORYTELLING E A CONSTRUÇÃO DE IDENTIDADES PLURAIS Dissertação aprovada como requisito parcial para obtenção do grau de Mestre em Cultura e Sociedade, Universidade Federal da Bahia, pela seguinte banca examinadora: Djalma Thürler – Orientador ------------------------------------------------------------- -
The Medley Volume 2, Issue 1, Fall 2010 October 17, 2010 Editor: Jessica Trask
The Medley Volume 2, Issue 1, Fall 2010 October 17, 2010 Editor: Jessica Trask Visit us soon at www.wgc.osu.edu! Email us at [email protected] Announcements Upcoming Dates Get ready for Halloween! Start thinking about your Friday, Oct. 29th at 8pm: HalleBOOia! Concert Halloween costume, as all performers at the HalleBOOia! concert are expected to wear a costume Monday, Nov. 8th at 7:30pm: Concert with or all black. Most people wear costumes, so have fun Kent State Women's Chorus with it! See page 2 for more details. Saturday, Nov. 13th (time TBA): Sing at Hem your dresses! When dresses come in you are responsible for getting them hemmed as soon as President's Brunch possible. If you can't get it hemmed before the November 8th concert, talk to Vice PResident Sunday, Nov. 14th at 3pm: Concert with WGC Shannon Tarbutton(.4) about a "quick-fix". Don't forget that Ashley Donmoyer(.6) will hem for a small fee! President's Brunch Gig 11/13 We have been invited to sing at the President's Brunch before the football game of November 13th. Report is TBA, so try Musical Words of Wisdom to keep your schedule clear if possible! This is always a fun gig because people love us! Remember, information is not knowledge; knowledge is not wisdom; wisdom is not truth; truth is not beauty; beauty is not love; love is not music; music is the best. ~ Frank Zappa In This Issue A few highlights to look for... Presidential Welcome....................................................2 Conductor's Corner........................................................2 Glee MadLib!.................................................................3 HalleBOOia Concert info...............................................3 Kick-Off Retreat: A Success!.........................................4 "Our Best, Ohio": Behind the Music..............................5 First WGC Tailgate: OSU vs. -
Music Concentration Requirements Writing in the Student’S Concentration File in ASK
Music 1 ● One upper-level course in musicology or ethnomusicology Music ● Any three upper-level courses, including graduate-level courses Additional Electives (according to student interest) Four additional elective courses, may include: Chair ● Up to four half-credit courses in performance - AMP music instruction Emily I. Dolan and/or Ensemble Participation (2 credits) ● Up to two courses outside of the department The study of music—a phenomenon known to all people in all ages— ● One music course below the 1000 level lies naturally at the heart of a liberal education. The Department of Music at Brown provides an ideal environment for such an education, with its Senior Project integrated faculty of scholars, performers, composers, and theorists. All music concentrators will choose a culminating experience for their The curriculum of the Department of Music combines studies in history, senior year, either a capstone project or honors project. This may take theory, ethnomusicology, and musicianship with courses in composition, the form of a performance, scholarly study, or original creative work. All technology, and performance. Application merges with analysis, creation students will have a primary advisor for their Senior Project. The work may with cultural study, and multimedia experiments with broad meditations on be done independently of a course for credit, as an independent study, or sound, in a unique department that welcomes all. within the framework of an existing course. For additional information, please visit the department's website: https:// Additional Notes www.brown.edu/academics/music/ All concentration substitutions and/or exceptions must be approved by the concentration advisor in consultation with the Director of Undergraduate Studies. -
Harpool Middle School Choral Department Handbook
Harpool Middle School Choral Department Handbook 2015-2016 9601 Stacee Lane Argyle, TX 76226 Ashley Delaney, Director of Choral Activities Bradley Kerley, Director of Choral Activities Choir Office: (940) 369-1788 [email protected]; [email protected] http://www.dentonisd.org/harpoolms/choir \ Page 1 HARPOOL MIDDLE SCHOOL LONGHORN CHOIRS: CURRICULAR Concert Girls/Guys - Un-auditioned ensemble open to sixth grade students. This course series serves as the training choir for upper level choirs. Students enrolled in the course will develop their singing, listening, sight-reading, and music theory skills, as well as develop an understanding for music of different styles and cultures. Chamber Choir - Auditioned choir open to eighth grade women only and specializes in the performance of treble choir music. An audition including sight-reading is required. Chamber Choir travels to UIL Concert & Sight-Reading Contest as a varsity treble choir each year and also competes in local and regional choral competitions. Membership requires attendance at extra-curricular activities, including concerts, rehearsals, and/or sectionals. Men’s Chorale - Un-auditioned choir open to seventh and eighth grade men only and specializes in the performance of tenor-bass choir music. Previous enrollment in sixth and/or seventh grade choir is preferred, but not required. Men’s Chorale travels to UIL Concert & Sight-Reading Contest as a non-varsity tenor-bass choir and also competes in local and regional choral competitions. Membership requires attendance at extra-curricular activities, including concerts, rehearsals, and/or sectionals. A Cappella Choir - Un-auditioned choir open to seventh grade and eighth grade women only and specializes in the performance of treble choir music. -
Cata Resume Sept 2015
Cat Rendic SAGAFTRA TELEVISION/FILM LIP SYNC BATTLE season 1 Dancer Danielle Flora NBA Allstar Game 2015 Christina Aguilera Dancer Jeri Slaughter, Paul Morente Miss Universe Nick Jonas Dancer Casper Smart, Kevin Maher A Step Away Docu Series. Entire Season. Main Character NUVO TV. Jennifer Lopez Nicki Minaj iHeartRadio, Emas, Fashion Rocks Dancer Casper Smart Pitbull Chris Brown Wisin Latin Grammys Dancer/Assistant Choreo Anibal Marrero Jessie J Halo Awards, NNNAwards Dancer Casper Smart The Voice, Gwen Stefani and Pharrell Dancer Jeri Slaughter/Fatima Robinson Ellen Degeneres Show with Julianne and Derek Hough Dancer Nappytabs XFactor season 3 Dancer Jamie King, Galen Hooks American Idol “Carly Rae Jepsen” Dancer Nick Demoura/Kevin Maher Super Bowl Half Time Show Beyonce/Destiny’s Child Dancer F. Gatson/Jaquel Knight/Chris Grant American Idol Jennifer Lopez Dancer Nappytabs NBA Allstar Pitbull, Neyo, Chris Brown Dancer Anibal Marrero/Jamaica Craft Dancing with the Stars with Pitbull Dancer/asst Anibal Marrero Britney Spears Jimmy Kimmel, GMA, MTV PROMO Dancer Jamie King/Brian Friedman Sing Your Face Off Season 1 Dancer Nappytabs Academy Awards with Ann Hathaway and James Franco Dancer Jamal Sims/Draico Johnson Home For The Holidays w. Ricky Martin Dancer Stephanie Roos Fresh Beat Band “Halloween, Graduation, Victorious” Dancer Chuck Maldonado/Nickelodeon Glee “Britney/Brittany” “Hairography” Dancer Zach Woodle/Brooke Lipton/FOX America’s Got Talent Eps 527 Dancer B.Friedman,C. Dupre, Oprah w/ Christina Aguilera Dancer Jeri Slaughter -
Albany, NY - March 10-12, 2017 Results Solo Intermediate ~ Mini PLACEMENT ENTRY ROUTINE TITLE STUDIO NAME SCORE
Albany, NY - March 10-12, 2017 Results Solo Intermediate ~ Mini PLACEMENT ENTRY ROUTINE TITLE STUDIO NAME SCORE 9TH 345 OUTSIDE LOOKING IN (ELLIE STIMSON) Leslie School of Dance 237.5 8TH 344 FRIEND LIKE ME (SADIEMAE SCHWALB) The Dance Experience 243 7TH 319 MONEY (SABRINA O'CONNOR) Leslie School of Dance 244 6TH 196 SHINE ON YOUR SHOES (BAILEY KELLER) Eleanor's School of Dance 250 6TH 219 I'M GONNA SIT RIGHT DOWN (ADDISON FURZE) JDC Dance Center 250 Ballet and All That Jazz, 5TH 331 KEEP ON DANCING (SYDNEY GIER) 251 LLC 4TH 211 HONEYBUN (AVA JONES) Eleanor's School of Dance 252 4TH 123 TAKE A LITTLE ONE STEP (EMILY HYE) JDC Dance Center 252 3RD 128 BLAME IT ON THE BOOGIE (SOPHIA JACKSON) JDC Dance Center 252.5 3RD 353 BABY FACE (ASHYTN BARTHELMAS) Class Act Dance 252.5 2ND 221 IT'S A SMALL WORLD (RILEY MARX) JDC Dance Center 262 1ST 356 BORN TO ENTERTAIN (MACIE KUNATH) Class Act Dance 262.5 Solo Intermediate ~ Junior PLACEMENT ENTRY ROUTINE TITLE STUDIO NAME SCORE 10TH 235 MISS INVISIBLE (ARIANNA BENNETT) Class Act Dance 251.5 PARDON MY SOUTHERN ACCENT (ALYSON 9TH 138 JDC Dance Center 252.5 O'CONNOR) Art In Motion Dance 8TH 394 LANDSLIDE (MORGAN HANNAFIN) 253 Academy 7TH 146 UNSTEADY (GRACE CERNIGLIA) The King's Dancers 253.5 Premier Dance Performing 6TH 320 WAKE ME UP (PAYTEN BRETON) 254 Arts Center 5TH 93 MR. PINSTRIPE SUIT (MESKILL AMELIA) Class Act Dance 256 The Isabelle School of 4TH 135 WALKING PAPERS (EMILY MARX) 258.5 Dance Premier Dance Performing 3RD 100 SHOWOFF (KEEGAN ROGERS) 260.5 Arts Center Premier Dance Performing 2ND -
Queer Identities and Glee
IDENTITY AND SOLIDARITY IN ONLINE COMMUNITIES: QUEER IDENITIES AND GLEE Katie M. Buckley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of Master of Music August 2014 Committee: Katherine Meizel, Advisor Kara Attrep Megan Rancier © 2014 Katie Buckley All Rights Reserved iii ABSTRACT Katherine Meizel, Advisor Glee, a popular FOX television show that began airing in 2009, has continuously pushed the limits of what is acceptable on American television. This musical comedy, focusing on a high school glee club, incorporates numerous stereotypes and real-world teenage struggles. This thesis focuses on the queer characteristics of four female personalities: Santana, Brittany, Coach Beiste, and Coach Sue. I investigate how their musical performances are producing a constructive form of mass media by challenging hegemonic femininity through camp and by producing relatable queer female role models. In addition, I take an ethnographic approach by examining online fan blogs from the host site Tumblr. By reading the blogs as a digital archive and interviewing the bloggers, I show the positive and negative effects of an online community and the impact this show has had on queer girls, allies, and their worldviews. iv This work is dedicated to any queer human being who ever felt alone as a teenager. v ACKNOWLEDGMENTS I would like to extend my greatest thanks to my teacher and advisor, Dr. Meizel, for all of her support through the writing of this thesis and for always asking the right questions to keep me thinking. I would also like to thank Dr. -
Steakhouse Live
Critical Interup tions Vol 1 Steakhouse Live EDITED BY CRITICAL INTERRUPTIONS WITH PALIN ANSUSINHA, KATY BAIRD, KATHARINA JOY BOOK, JENNIFER BOYD, JASMINE SHIGEMURA LEE, EMMA SELWYN AND MARIKISCRYCRYCRY (MALIK NASHAD SHARPE) Critical interruptions Vol 1: Steakhouse Live By Critical Interruptions (Diana Damian Martin and Bojana Janković) [criticalinterruptions.com] with Palin Ansusinha, Katy Baird, Katharina Joy Book, Jennifer Boyd, Jasmine Shigemura Lee, Emma Selwyn and Marikiscrycrycry (Malik Nashad Sharpe) Designed by Gareth Damian Martin Images by Julia Bauer and Manuel Vason Printed by Book Printers UK Copyright © Critical Interruptions and the contributors 2018 Supported by Live Art UK and Steakhouse Live Live Art UK is supported by Arts Council England through the Live Art Development Agency’s National Portfolio Organisation funding. The Steakhouse: Live Writing project was supported through Steakhouse Live Festival 2016 funded by Arts Council England. To the community of criticism: those who make, write, curate, support, sustain, activate, agitate and labour in and around Live Art. 4 Over the last twenty years, the ecologies of critical practice under- went fundamental shifts. Criticism moved online; it moved away from full-time jobs; it moved into venues, inhabited festivals, be- came embedded. Yet, for all the changes, no dent was made in the structures underpinning the practice. Blogs broke the word count constraints of broadsheets but often continued awarding stars. On- line publications created space for more writers, many of whom were women, but most of whom were still white, British and middle class. Meanwhile, no one was getting paid; most lived in London; every- one still wanted the press ticket for the mainstream, not the radical. -
The Resistance to Theatricality Author(S): Marvin Carlson Source: Substance, Vol. 31, No. 2/3, Issue 98/99: Special Issue: Theatricality (2002), Pp
The Resistance to Theatricality Author(s): Marvin Carlson Source: SubStance, Vol. 31, No. 2/3, Issue 98/99: Special Issue: Theatricality (2002), pp. 238-250 Published by: University of Wisconsin Press Stable URL: http://www.jstor.org/stable/3685489 Accessed: 29/01/2009 21:43 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=uwisc. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. University of Wisconsin Press is collaborating with JSTOR to digitize, preserve and extend access to SubStance. http://www.jstor.org The Resistanceto Theatricality Marvin Carlson Probably the most distinctive feature of theoretical speculation concerning the theater during the past twenty years has been the cross- fertilization of this field of study with the social sciences. -
Feb March 2013 VE
COLORADO IDAHO KANSASKANSAS MONTANA NEBRASKANEBRASKA Proud members of PROBE www.RMDsing.org Barbershop Harmony Society Classic Collection, 1982 — International Quartet Champions — Storm Front, 2010 2012 Barbershopper of the Year: Dr. Dan Clark, Scottsbluff/Denver Mile High Vol. 35, No. 1 Published by the Rocky Mountain District Association of Chapters Feb/March 2013 NEW MEXICO SOUTH DAKOTA UTAH WYOMING Mountain West Voices 52eighty Die Heart Acafellas Stephen Dugdale, dir. Jay Doughtery, dir. Chelsea Asmus, dir. Brigham Young University Denver Mile High Western Colorado Bernalillo County, NM From the Duke City Sound Congratulations to the fine young men of The 505 for their fine showing at the Midwinter Convention in Orlando. We’re very proud of their singing, earning their highest score to date, second in their Plateau, and third place overall! The 505 Tony Sparks, dir. Bernalillo County, NM RMD VOCAL EXPRESSIONS PAGE 2 FEB/MARCH 2013 Vocal Expressions is published six times yearly Feb/March, April/May, June/July Aug/Sept, Oct/Nov, Dec/Jan issues are posted online Send articles, photos, ads, business cards, news, etc. in ASCII text, jpgs, text only, pdf, or Word documents. Subscription price is $5.00 per year. VE DEADLINES DukeDuke CityCity SoundSound WinsWins WildWild Card!Card! Feb/March: Jan 20 Bernalillo County Chorus invited to Toronto April/May: March 20 June/July: May 20 The Rocky Mountain District chorus prelims in Albuquerque had every- Aug/Sept: July 20 one jazzed after Duke City Sound hit a home run – could the Rocky Oct/Nov: -
ESTUDO LINGUÍSTICOS E LITERÁRIOS Leonardo Da Silva
UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM INGLÊS: ESTUDO LINGUÍSTICOS E LITERÁRIOS Leonardo da Silva “A LOSER LIKE ME”: IDENTITY AND AGENCY IN RYAN MURPHY’S GLEE Dissertação submetida ao Programa de Pós-Graduação em Inglês: Estudos Linguísticos e Literários da Universidade Federal de Santa Catarina para a obtenção do Grau de Mestre em Letras. Orientadora: Profa. Dra. Eliana de Souza Ávila. Florianópolis 2014 Ficha de identificação da obra elaborada pelo autor, através do Programa de Geração Automática da Biblioteca Universitária da UFSC. da Silva, Leonardo "A Loser Like Me": Identity and Agency in Ryan Murphy's 'Glee' / Leonardo da Silva ; orientadora, Eliana de Souza Ávila - Florianópolis, SC, 2014. 66 p. Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós- Graduação em Inglês: Estudos Linguísticos e Literários. Inclui referências 1. Letras. 2. Glee. 3. Identity. 4. Agency. 5. hegemonic representation. I. de Souza Ávila, Eliana. II. Universidade Federal de Santa Catarina. Programa de Pós- Graduação em Inglês: Estudos Linguísticos e Literários. III. Título. Nobody can tell you There's only one song worth singing They may try and sell you 'Cause it hangs them up to see someone like you But you gotta make your own kind of music Sing your own special song Make your own kind of music Even if nobody else sings along (Mama Cass Eliot, “Make your own kind of music”) For all the losers, outcasts, in-betweens, and queers out there. ACKNOWLEDGEMENTS A television series is the result of a collaborative process. It involves creators, directors, writers, actors, editors and, in the case of Glee, singers and musicians (among so many other professionals).