DOCSLIB.ORG

Kurt Hummel's Language Features in Glee Television

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kurt Hummel's Language Features in Glee Television PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI KURT HUMMEL’S LANGUAGE FEATURES IN GLEE TELEVISION SERIES SEASON 1: A SOCIOLINGUISTIC ANALYSIS A SARJANA PENDIDIKAN THESIS Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Yustina Rostyaningtyas Student Number: 131214113 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2017 i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI “There is no substitute for hard work.” Thomas A. Edison This thesis is dedicated to: Antonius Wiryono, Yuliana Saryati, and myself iv PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRACT Rostyaningtyas, Yustina. 2017. Kurt Hummel’s Language Features in Glee Television Series Season 1: A Sociolinguistic Analysis. Yogyakarta: English Language Education Study Program, Sanata Dharma University. The use of language by individuals is influenced by many factors. Gender is one factor that influences the use of language. In this research, gender is seen to be different from sex. It is seen as a social construction rather than as a fixed category. As a result, women and men do not stick to one language style but change it based on their social context. Therefore, the researcher was interested in analyzing the women’s language used by a feminine man named Kurt Hummel in Glee Television Series Season 1. In conducting the research, a research question was formulated: What women’s language features does Kurt Hummel use in his speech in Glee Television Series Season 1? The research was qualitative research in which discourse analysis was employed to analyze the data. Kurt Hummel’s language features in Glee Television Series Season 1 was used as the primary data. The researcher was the human instrument who was involved significantly collecting the data. Observation checklist was also used as the research instrument to help the researcher analyzing the data to answer the research question. The researcher identified that women’s language features used by Kurt Hummel in Glee Television Series Season 1 were lexical hedges or fillers, tag questions, raising intonation on declaratives, empty adjectives, intensifiers, hypercorrect grammar, superpolite forms, avoidance of strong swear words and emphatic stress. Meanwhile, the researcher did not find one feature of women’s language which is precise of color terms in Kurt Hummel’s utterances since it was influenced by the topic discussion. Besides the topic discussion, other factor that influenced Kurt’s language was his identity as a man associated with femininity. Although he was a man, he used women’s language features because he tended not to be certain with his utterances. It confirms Holmes who states the use of hedging and boosting devices are not only influenced by gender but also by power. People who are powerless in the society usually use a relatively high number of these devices. Keywords: Kurt Hummel’s utterances, women’s language features, feminine men, Glee Television Series vii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ABSTRAK Rostyaningtyas, Yustina. 2017. Kurt Hummel’s Language Features in Glee Television Series Season 1: A Sociolinguistic Analysis. Yogyakarta: Program Studi Pendidikan Bahasa Inggris, Universitas Sanata Dharma. Penggunaan bahasa oleh individu dipengaruhi oleh berbagai macam faktor. Gender merupakan salah satu faktor yang mempengaruhi penggunaan bahasa. Dalam penelitian ini, gender dipandang berbeda dengan jenis kelamin. Gender dilihat sebagai sebuah konstruksi sosial dan bukan sebagai sebuah kategori tetap. Akibatnya, wanita dan pria tidak hanya menggunakan satu gaya bahasa tetapi mengubahnya berdasarkan konteks sosial mereka. Oleh karena itu, peneliti tertarik untuk menganalisis bahasa perempuan yang digunakan oleh pria feminin bernama Kurt Hummel dalam Glee Television Series Season 1. Dalam melakukan penelitian ini, terdapat sebuah rumusan masalah: Karakteristik bahasa perempuan apa saja yang Kurt Hummel gunakan dalam Glee Television Series Season 1? Penelitian ini merupakan penelitian kualitatif dimana analisis wacana digunakan untuk menganalisis data. Karakteristik bahasa yang digunakan Kurt Hummel dalam Glee Television Series Season 1 digunakan sebagai data utama. Peneliti berperan sebagai “human instrument” yang secara signifikan mengumpulkan data. Observation checklist juga digunakan sebagai instrumen penelitian untuk membantu peneliti dalam menganalisa data untuk menjawab rumusan masalah. Peneliti mengidentifikasi bahwa karakteristik bahasa perempuan yang digunakan oleh Kurt Hummel dalam Glee Television Series Season 1 adalah lexical hedges or fillers, tag questions, raising intonation on declaratives, empty adjectives, intensifiers, hypercorrect grammar, superpolite forms, avoidance of strong swear word, dan emphatic stress. Sementara itu, peneliti tidak menemukan satu karakteristik bahasa perempuan yang disebut precise color terms dalam ujaran Kurt Hummel karena hal ini dipengaruhi oleh topik diskusi. Selain topik diskusi, faktor lain yang mempengaruhi penggunaan bahasa Kurt adalah identitas Kurt sebagai seorang pria yang dikaitkan dengan feminitas. Walaupun Kurt adalah seorang pria, ia menggunakan karakteristik bahasa perempuan karena cenderung tidak yakin dengan ucapannya. Hal ini menegaskan pernyataan Holmes yang menyebutkan bahwa penggunaan hedging dan boosting devices tidak hanya dipengaruhi oleh gender, tapi juga oleh kekuasaan di masyarakat. Orang yang tidak berkuasa biasanya akan sering menggunakan karakteristik tersebut. Kata kunci: Kurt Hummel’s utterances, women’s language features, feminine men, Glee Television Series viii PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI ACKNOWLEDGEMENTS I would like to express my gratitude to those who helped me to finish my thesis. First of all, I praise Jesus Christ, the One that makes everything possible, for His endless blessing and guidance for me in finishing my thesis. My special gratitude goes to my thesis advisor, Truly Almendo Pasaribu, S.S., M.A., for her guidance, constructive feedback, helpful suggestions, encouragement, and contributions to help me finish my thesis. I would also like to express my sincere gratitude to all lecturers in ELESP for the valuable knowledge that I have learned throughout my four-year study in Sanata Dharma University. I would like to express my deepest gratitude to my beloved family for their limitless love, patience, and support. I also owe gratitude to my friends, especially my classmates for the sharing and friendship. Finally, I would thank all people whose names cannot be mentioned one by one, who gave contributions to the completion of this thesis. Yustina Rostyaningtyas ix PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI TABLE OF CONTENTS TITLE PAGE ................................................................................................ i APPROVAL PAGES.................................................................................... ii DEDICATION PAGE .................................................................................. iv STATEMENT OF WORK’S ORIGINALITY ............................................. v PERNYATAAN PERSETUJUAN PUBLIKASI ............................................. vi ABSTRACT.................................................................................................. vii ASTRAK ........................................................................................................ viii ACKNOWLEDGEMENTS .......................................................................... ix TABLE OF CONTENTS.............................................................................. x LIST OF TABLES ........................................................................................ xii LIST OF FIGURE ........................................................................................ xiii CHAPTER I: INTRODUCTION.................................................................. 1 A. Research Background........................................................................ 1 B. Research Question............................................................................. 5 C. Research Significance ....................................................................... 5 D. Definition of Terms........................................................................... 6 CHAPTER II: REVIEW OF REKATED LITERATURE............................ 9 A. Theoretical Description..................................................................... 9 1. Language and Gender ................................................................. 9 2. Femininity and Masculinity ........................................................ 10 3. Women’s Language .................................................................... 11 4. Women’s Language Features...................................................... 12 5. Discourse Analysis ..................................................................... 16 B. Theoretical Framework ..................................................................... 16 CHAPTER III: METHODOLOGY .............................................................. 18 A. Research Method............................................................................... 18 x PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI B. Research Instrument and Data
Load more

Recommended publications
  • Raluca SAS MARINESCU TYPOLOGIES OF
    Typologies of everyday theatricality – a game and a movie 43 Raluca SAS MARINESCU TYPOLOGIES OF EVERYDAY THEATRICALITY – A GAME AND A MOVIE Abstract. This paper studies the virtual theatricality as Virtual theatricality a part of everyday theatricality, through a specific number Theatricality is the use of the term of case studies: a computer game and a movie. Virtual theatricality is the type of role assumption produced at the theatrical imagination to describe the level of the individual imaginary; here, communication is quality of the dramatic art to transform split by an interface; the virtual role assumption is perfectly the imitation of an action into a new conscious and allows the interaction with the character creative experience, a vision and a reve- created by the one with whom the communication is carried lation shared both by the actor and by out, but never with the individual as such. the audience. Key words. theatricality, RPG, Charlie Kaufman, audiences Virtual theatricality is the type of role assumption produced at the level of the individual imaginary; here, commu- nication is split by an interface; the virtual role assumption is perfectly conscious and allows the interaction with the character created by the one with whom the communication is carried out, but never with the individual as such. This is one of the most pervasive and easily identifiable typologies of theatricality, preceding in principle the invention of the technology that has generated the virtual media. For instance, a great part of the classic epistolary novels use EKPHRASIS, 3/2010 the techniques of the imaginary role Representation, Reality construction and of their deconstruction and Illusion in Visual Culture pp.
    [Show full text]
  • Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock
    Genders 1998-2013 Genders 1998-2013 Genders 1998-2013 Home (/gendersarchive1998-2013/) Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock Feminism, Postfeminism, Liz Lemonism: Comedy and Gender Politics on 30 Rock May 1, 2012 • By Linda Mizejewski (/gendersarchive1998-2013/linda-mizejewski) [1] The title of Tina Fey's humorous 2011 memoir, Bossypants, suggests how closely Fey is identified with her Emmy-award winning NBC sitcom 30 Rock (2006-), where she is the "boss"—the show's creator, star, head writer, and executive producer. Fey's reputation as a feminist—indeed, as Hollywood's Token Feminist, as some journalists have wryly pointed out—heavily inflects the character she plays, the "bossy" Liz Lemon, whose idealistic feminism is a mainstay of her characterization and of the show's comedy. Fey's comedy has always focused on gender, beginning with her work on Saturday Night Live (SNL) where she became that show's first female head writer in 1999. A year later she moved from behind the scenes to appear in the "Weekend Update" sketches, attracting national attention as a gifted comic with a penchant for zeroing in on women's issues. Fey's connection to feminist politics escalated when she returned to SNL for guest appearances during the presidential campaign of 2008, first in a sketch protesting the sexist media treatment of Hillary Clinton, and more forcefully, in her stunning imitations of vice-presidential candidate Sarah Palin, which launched Fey into national politics and prominence. [2] On 30 Rock, Liz Lemon is the head writer of an NBC comedy much likeSNL, and she is identified as a "third wave feminist" on the pilot episode.
    [Show full text]
  • Mary, Roseanne, and Carrie: Television and Fictional Feminism by Rachael Horowitz Television, As a Cultural Expression, Is Uniqu
    Mary, Roseanne, and Carrie: Television and Fictional Feminism By Rachael Horowitz Television, as a cultural expression, is unique in that it enjoys relatively few boundaries in terms of who receives its messages. Few other art forms share television's ability to cross racial, class and cultural divisions. As an expression of social interactions and social change, social norms and social deviations, television's widespread impact on the true “general public” is unparalleled. For these reasons, the cultural power of television is undeniable. It stands as one of the few unifying experiences for Americans. John Fiske's Media Matters discusses the role of race and gender in US politics, and more specifically, how these issues are informed by the media. He writes, “Television often acts like a relay station: it rarely originates topics of public interest (though it may repress them); rather, what it does is give them high visibility, energize them, and direct or redirect their general orientation before relaying them out again into public circulation.” 1 This process occurred with the topic of feminism, and is exemplified by the most iconic females of recent television history. TV women inevitably represent a strain of diluted feminism. As with any serious subject matter packaged for mass consumption, certain shortcuts emerge that diminish and simplify the original message. In turn, what viewers do see is that much more significant. What the TV writers choose to show people undoubtedly has a significant impact on the understanding of American female identity. In Where the Girls Are , Susan Douglas emphasizes the effect popular culture has on American girls.
    [Show full text]
  • Concerts Private Lessons Ensemble Membership Programs Courses
    Music 1 MUSIC Ensemble Membership Membership in the Hopkins Symphony Orchestra, the Johns Hopkins http://www.krieger.jhu.edu/music (http://www.krieger.jhu.edu/music/) University Band, and the Hopkins Glee Club, all of which rehearse and perform on the Homewood campus, is open to all university students. The Peabody Institute of The Johns Hopkins University is an Membership in the Hopkins Symphony Orchestra is by audition on a internationally acclaimed music conservatory. The Peabody campus, space-available basis. Seating is limited, especially in the winds. Contact located at historic Mount Vernon Place, is on the university shuttle the HSO Office in Shriver Hall at 410-516-6542 for audition information, bus route between Homewood campus and the medical institutions in which can also be found online at http://www.jhu.edu/jhso/about/ East Baltimore. Faculty of the Peabody Institute offer classes on the audition _info.html (http://www.jhu.edu/jhso/). Homewood campus that are open to all undergraduates. Participation in the Peabody-Hopkins Chorus and Peabody Singers Qualified Hopkins undergraduates may, for no extra charge, register is open to all university students upon completion of a satisfactory for classes in music history, music theory, music education, recording audition. Please contact Ensemble Coordinator, 667-208-6628 (email techniques, and computer music offered on the Peabody campus. There TBA), if you wish to schedule an audition or would like additional are also limited opportunities to take private lessons and participate in information. ensembles. Advanced instrumentalists who wish to be considered for membership Concerts in Peabody’s large instrumental ensembles—the Peabody Symphony Orchestra, Peabody Concert Orchestra, Peabody Wind Ensemble, Homewood students are welcome to attend Peabody’s many concerts Peabody Camerata (contemporary music), Peabody Improvisation and and are entitled to one complimentary ticket per concert, excluding opera Multimedia Ensemble, and Peabody Jazz Orchestra—are welcome to take and dance productions.
    [Show full text]
  • Sunday Morning Grid 12/28/14 Latimes.Com/Tv Times
    SUNDAY MORNING GRID 12/28/14 LATIMES.COM/TV TIMES 7 am 7:30 8 am 8:30 9 am 9:30 10 am 10:30 11 am 11:30 12 pm 12:30 2 CBS CBS News Sunday Face the Nation (N) The NFL Today (N) Å Football Chargers at Kansas City Chiefs. (N) Å 4 NBC News (N) Å Meet the Press (N) Å News 1st Look Paid Premier League Goal Zone (N) (TVG) World/Adventure Sports 5 CW News (N) Å In Touch Paid Program 7 ABC News (N) Å This Week News (N) News (N) Outback Explore St. Jude Hospital College 9 KCAL News (N) Joel Osteen Mike Webb Paid Woodlands Paid Program 11 FOX Paid Joel Osteen Fox News Sunday FOX NFL Sunday (N) Football Philadelphia Eagles at New York Giants. (N) Å 13 MyNet Paid Program Black Knight ›› (2001) 18 KSCI Paid Program Church Faith Paid Program 22 KWHY Como Local Jesucristo Local Local Gebel Local Local Local Local Transfor. Transfor. 24 KVCR Painting Dewberry Joy of Paint Wyland’s Paint This Painting Kitchen Mexico Cooking Chefs Life Simply Ming Ciao Italia 28 KCET Raggs Play. Space Travel-Kids Biz Kid$ News Asia Biz Ed Slott’s Retirement Rescue for 2014! (TVG) Å BrainChange-Perlmutter 30 ION Jeremiah Youssef In Touch Hour Of Power Paid Program 34 KMEX Paid Program Al Punto (N) República Deportiva (TVG) 40 KTBN Walk in the Win Walk Prince Redemption Liberate In Touch PowerPoint It Is Written B. Conley Super Christ Jesse 46 KFTR Tu Dia Tu Dia Happy Feet ››› (2006) Elijah Wood.
    [Show full text]
  • Modelling of Particulate Matter and Ammonia Emissions from German Agriculture
    Institute of Farm Management University of Hohenheim Department of Farm Management Prof. Dr. Drs. h.c. Jürgen Zeddies MODELLING OF PARTICULATE MATTER AND AMMONIA EMISSIONS FROM GERMAN AGRICULTURE Dissertation Submitted in fulfilment of the requirements for the degree “Doktor der Agrarwissenschaften” (Dr.sc.agr. / Ph.D. in Agricultural Sciences) to the Faculty of Agricultural Sciences presented by Olga Beletskaya Stavropol, Russian Federation 2016 This thesis was accepted as a doctoral dissertation in fulfilment of the requirements for the degree “Doktor der Agrarwissenschaften” (Dr. sc. agr. / Ph.D. Agricultural Sciences) by the faculty Agricultural Sciences of the university of Hohenheim on 10.11.2014. Date of oral examination: 14.01.2015 Examination Committee Supervisor and Reviewer Prof. Dr.Dr.h.c. Jürgen Zeddies Co-Reviewer PD Dr. Eva Gallmann Additional Examiner Prof. Dr. Reiner Doluschitz Head of the Committee Prof. Dr. Stefan Böttinger Dedicated to the dearest and beloved friend Juan Guillermo Cobo ACKNOWLEDGEMENT With all my heart and mind I am grateful to all those, who directly or indirectly has contri- buted to this study. At first place I would like to thank my colleague and direct advisor Dr. Elisabeth Angenendt and my doctoral thesis supervisor Prof. Dr. Jürgen Zeddies for support, and sharp but reasonable critic and useful advice. Many thanks go to my colleague and co- worker in the project framework, Dipl. Ing. Susanne Wagner (IER, University of Stuttgart) for the best teamwork, informational support and encouragement. From the representatives of the same institute, I would like to express my gratefulness to Jochen Teloke for helpful infor- mative support and for the organization of efficient project meetings; and to Balendra Thiru- chittampalam for a good collaboration.
    [Show full text]
  • M-Ad Shines in Toronto
    Volume 44, Issue 3 SUMMER 2013 A BULLETIN FOR EVERY BARBERSHOPPER IN THE MID-ATLANTIC DISTRICT M-AD SHINES IN TORONTO ALEXANDRIA MEDALS! DA CAPO maKES THE TOP 10 GImmE FOUR & THE GOOD OLD DAYS EARN TOP 10 COLLEGIATE BROTHERS IN HARMONY, VOICES OF GOTHam amONG TOP 10 IN THE WORLD WESTCHESTER WOWS CROWD WITH MIC-TEST ROUTINE ‘ROUND MIDNIGHT, FRANK THE DOG HIT TOP 20 UP ALL NIGHT KEEPS CROWD IN STITCHES CHORUS OF THE CHESAPEAKE, BLACK TIE AFFAIR GIVE STRONG PERFORmaNCES INSIDE: 2-6 OUR INTERNATIONAL COMPETITORS 7 YOU BE THE JUDGE 8-9 HARMONY COLLEGE EAST 10 YOUTH CamP ROCKS! 11 MONEY MATTERS 12-15 LOOKING BACK 16-19 DIVISION NEWS 20 CONTEST & JUDGING YOUTH IN HARMONY 21 TRUE NORTH GUIDING PRINCIPLES 23 CHORUS DIRECTOR DEVELOPMENT 24-26 YOUTH IN HARMONY 27-29 AROUND THE DISTRICT . AND MUCH, MUCH MORE! PHOTO CREDIT: Lorin May ANYTHING GOES! 3RD PLACE BRONZE MEDALIST ALEXANDRIA HARMONIZERS PULL OUT ALL THE STOPS ON STAGE IN TORONTO. INTERNATIONAL CONVENTION 2013: QUARTET CONTEST ‘ROUND MIDNIGHT, T.J. Carollo, Jeff Glemboski, Larry Bomback and Wayne Grimmer placed 12th. All photos courtesy of Dan Wright. To view more photos, go to www. flickr.com/photosbydanwright UP ALL NIGHT, John Ward, Cecil Brown, Dan Rowland and Joe Hunter placed 28th. DA CAPO, Ryan Griffith, Anthony Colosimo, Wayne FRANK THE Adams and Joe DOG, Tim Sawyer placed Knapp, Steve 10th. Kirsch, Tom Halley and Ross Trube placed 20th. MID’L ANTICS SUMMER 2013 pa g e 2 INTERNATIONAL CONVENTION 2013: COLLEGIATE QUARTETS THE GOOD OLD DAYS, Fernando Collado, Doug Carnes, Anthony Arpino, Edd Duran placed 10th.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Doing the Time Warp: Queer Temporalities and Musical Theater Permalink https://escholarship.org/uc/item/1k1860wx Author Ellis, Sarah Taylor Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Doing the Time Warp: Queer Temporalities and Musical Theater A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Sarah Taylor Ellis 2013 ABSTRACT OF THE DISSERTATION Doing the Time Warp: Queer Temporalities and Musical Theater by Sarah Taylor Ellis Doctor of Philosophy in Theater and Performance Studies University of California, Los Angeles, 2013 Professor Sue-Ellen Case, Co-chair Professor Raymond Knapp, Co-chair This dissertation explores queer processes of identification with the genre of musical theater. I examine how song and dance – sites of aesthetic difference within the musical – can warp time and enable marginalized and semi-marginalized fans to imagine different ways of being in the world. Musical numbers can complicate a linear, developmental plot by accelerating and decelerating time, foregrounding repetition and circularity, bringing the past to life and projecting into the future, and physicalizing dreams in a narratively open present. These excesses have the potential to contest naturalized constructions of historical, progressive time, as well as concordant constructions of gender, sexual, and racial identities. While the musical has historically been a rich source of identification for the stereotypical white gay male show queen, this project validates a broad and flexible range of non-normative readings.
    [Show full text]
  • Who's Telling My Story?
    LESSON PLAN Level: Grades 9 to 12 About the Author: Matthew Johnson, Director of Education, MediaSmarts Duration: 2 to 3 hours This lesson was produced with the support of the Government of Canada through the Department of Justice Canada's Justice Partnership and Innovation Program. Who’s Telling My Story? This lesson is part of USE, UNDERSTAND & CREATE: A Digital Literacy Framework for Canadian Schools: http://mediasmarts.ca/teacher-resources/digital-literacy-framework. Overview In this lesson students learn about the history of blackface and other examples of majority-group actors playing minority -group characters such as White actors playing Asian and Aboriginal characters and non-disabled actors playing disabled characters. They consider the key media literacy concepts that “audiences negotiate meaning” and “media contain ideological and value messages and have social implications” in discussing how different kinds of representation have become unacceptable and how those kinds of representations were tied to stereotypes. Finally, students discuss current examples of majority-group actors playing minority-group characters and write and comment on blogs in which they consider the issues raised in the lesson. Learning Outcomes Students will: learn about the history and implications of majority-group actors playing minority-group characters consider the importance of self-representation by minority communities in the media state and support an opinion write a persuasive essay Preparation and Materials Read Analyzing Blackface (Teacher’s Copy) Prepare to show the A History of Blackface slideshow and Blackface Then and Now video to the class Copy the following handouts: Analyzing Blackface Cripface www.mediasmarts.ca 1 © 2016 MediaSmarts Who’s Telling My Story? ● Lesson Plan ● Grades 9 – 12 Procedure Begin by projecting the first two images from “A History of Blackface”: Carlo Rota and Kevin McHale, from series currently on TV (2011).
    [Show full text]
  • Sitcom Spec Script Survey
    Sitcom Spec Script Survey 1. How would you rank yourself in terms of your sitcom writing experience? Response Response Percent Count No experience 20.5% 30 Beginner - understand the basics, but are still fairly 55.5% 81 inexperienced Advanced - written several scripts, but have not yet made any money 21.2% 31 from writing Professional - been paid to write 2.7% 4 answered question 146 skipped question 1 2. How many sitcom spec scripts have you written within the last year? Please only count COMPLETED drafts. Response Response Percent Count 0 - 2 93.8% 136 3 - 5 6.2% 9 6 - 10 0.7% 1 More than 10 0.0% 0 answered question 145 skipped question 2 1 of 18 3. Please list the sitcoms that you've specced within the last year: Response Count 95 answered question 95 skipped question 52 4. How many sitcom spec scripts are you currently writing or plan to begin writing during 2011? Response Response Percent Count 0 - 2 64.5% 91 3 - 4 30.5% 43 5 - 6 5.0% 7 answered question 141 skipped question 6 5. Please list the sitcoms in which you are either currently speccing or plan to spec in 2011: Response Count 116 answered question 116 skipped question 31 2 of 18 6. List any sitcoms that you believe to be BAD shows to spec (i.e. over-specced, too old, no longevity, etc.): Response Count 93 answered question 93 skipped question 54 7. In your opinion, what show is the "hottest" sitcom to spec right now? Response Count 103 answered question 103 skipped question 44 8.
    [Show full text]
  • Saluting Cheyenne Jackson for Artistic Achievement
    Saluting Cheyenne Jackson for artistic achievement WHEREAS, Cheyenne Jackson is a native of the Pacific Northwest who has shown that even through adversity and hardship, one can make their dreams come true; and WHEREAS, Cheyenne Jackson has appeared in films such as the Academy Award nominated United 93, the Sundance selected Price Check, and The Green; and WHEREAS, Cheyenne Jackson has also appeared on television programs such as Glee, Ugly Betty, Curb Your Enthusiasm, and 30 Rock; and WHEREAS, Cheyenne Jackson has appeared in such Broadway and off-Broadway productions as All Shook Up, The Agony and The Agony, The Heart of the Matter, and 8; and WHEREAS, Cheyenne Jackson has recorded two studio albums and has sold out Carnegie Hall twice; and WHEREAS, his work on Broadway, on television, in film and his activism on behalf of the LGBT community through his work with the Foundation for AIDS research and the Hetrick-Martin Institute which supports LGBT youth have been a source of inspiration for many in our community; and WHEREAS, we are proud to welcome Cheyenne Jackson back to the Pacific Northwest for his performance at Martin Woldson Theater in the hopes that his work will inspire many more; NOW, THEREFORE, BE IT RESOLVED, by the Spokane City Council that we hereby salute Cheyenne Jackson for all of his accomplishments and look forward to his performance with the Spokane Symphony. I, Ben Stuckart, Spokane City Council President, do hereunto set my hand and cause the seal of the City of Spokane to be affixed this 19th day of May in 2014 Ben Stuckart Spokane City Council President .
    [Show full text]
  • A Brief History of the Morehouse College Glee Club
    A Brief History of the Morehouse College Glee Club The Morehouse College Glee Club is the premier singing organization of Morehouse College, traveling all over the country and the world, demonstrating excellence not only in choral performance but also in discipline, dedication, and brotherhood. Through its tradition the Glee Club has an impressive history and seeks to secure its future through even greater accomplishments, continuing in this tradition through the dedication and commitment of its members and the leadership that its directors have provided throughout the years. It is the mission of the Morehouse College Glee Club to maintain a high standard of musical excellence. In 1911, Morehouse College, then under the name of Atlanta Baptist College, had a music professor named Georgia Starr. She served the College from 1903-1905 and again from 1908- 1911. Mr. Kemper Harreld, who officially founded the Morehouse College Glee Club, assumed leadership when he joined the College’s music faculty in the fall of 1911. Mr. Harreld became both, Chair of the Music Department and Director of the Glee Club. After faithfully serving for forty-two years, he retired in 1953. Mr. Harreld was responsible for beginning the Glee Club’s strong legacy of excellence that has since been passed down to all members of the organization. The Glee Club’s history continues in 1953 with the second director, Wendell Phillips Whalum, Sr., '52. Dr. Whalum was a prized student of Kemper Harreld. He served as Student Director during his tenure in the Glee Club. Dr. Whalum, was more commonly known as "Doc", and served Morehouse College and the Glee Club with the continued tradition of excellence through expanded repertoire and national and international exposure throughout his tenure at the College.
    [Show full text]