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AMY SARA CARROLL

Department of American Culture and Department of English Language and Literature,
The University of Michigan, 505 South State Street, 3700 Haven Hall, Ann Arbor Michigan 48109-1045 [email protected]

EDUCATION

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Duke University

Ph.D. Literature (2004) Certificates in Latin American and Caribbean Studies and Women’s Studies Dissertation: “The Allegorical Performative: Mexican and U.S. Transnational Tactics for Representing and Reinventing the ‘New World Border’” (Directors Fredric Jameson and Antonio Viego; committee members Alberto Moreiras, Janice Radway, and Irene Silverblatt) M.A. Literature (2000)

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Cornell University

M.F.A. English, Creative Writing (Poetry) (1995) Thesis: “Secession” (Directors Archie Ammons and Kenneth McClane)

University of Chicago

M.A. Anthropology (1993) Masters Paper: “Anita Hill and Clarence Thomas: Contemporary Intersections of Race, Sexuality, and Gender” (Directors Jean Comaroff and Terence Turner)

Princeton University

A.B. Anthropology and Creative Writing (Poetry), magna cum laude (1990) Senior Thesis: "Cartography: Merging Anthropology and Poetry" (Directors Jorge Klor de Alva and James Richardson) Junior Paper: "Legacies and Transformations of the Myth of Quetzalcoatl" (Director John Kelly)

Richard King High School, Corpus Christi, Texas

Valedictorian (from a class of 500) (1986)

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ADDITIONAL TRAINING

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Centro Nacional de las Artes (Mexico City), Summer 2000

Curso Avanzado de Performance

Colegio de México (Mexico City), Summer 1999

Programa Interdisciplinario de Estudios de la Mujer

Universidad de Guadalajara (Mexico), Summer 1989

EMPLOYMENT

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University of Michigan, Ann Arbor, Fall 2006-present

Assistant Professor of American Culture and English Language and Literature Core faculty, Program in Latina/o Studies Affiliate, Digital Studies Affiliate, Center for Latin American and Caribbean Studies Affiliate, Center for World Performance Studies

Duke University, Spring 2005

Visiting Assistant Professor, English Department

Cornell University, Fall 1995-Spring 1997

Lecturer in Creative Writing, English Department

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RESEARCH AND TEACHING INTERESTS

Latin/x American twentieth and twenty-first century cultural production (art, literature, cinema, and performance), critical theory, American and border studies, postcolonial and ethnic studies, gender and sexuality studies, digital cultures and e-literatures, creative writing (poetry and creative nonfiction)

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PUBLICATIONS

Critical Monographs

“Global Mexico’s Coproduction,” work in progress. REMEX: Toward an Art History of the NAFTA Era. Austin: The University of Texas Press (Mellon Latin American and Caribbean Arts and Cultures Publishing Initiative), in production, forthcoming 2017.

Spanish translation

REMEX: Hacia una Historia del Arte de la era del TLC. México: Siglo XXI Editores (Serie Zona Crítica),

manuscript in preparation.

Poetry Collections

FANNIE + FREDDIE/ The Sentimentality of Post-9/11 Pornography (with a foreword by Claudia Rankine). New

York: Fordham University Press, 2013 (distributed by Fordham and Oxford University Presses). (104

pages) Winner of Fordham University’s 2011-2012 Poets Out Loud Prize, selected by Claudia Rankine

SECESSION (a full color collection of poems and prints with an introduction by Holly Hughes, two critical essays by Laura Gutiérrez and Evie Shockley, and two interviews with Amy Sara Carroll by Heidi Bean and Carlos Amador and Rachel Price). San Diego: Hyperbole Books (an imprint of San Diego State

University Press), 2012. (194 pages) Winner of the 2013 Louis I. Bredvold Prize for Scholarly or Creative Publication, University of Michigan, Department of English Language and Literature; Winner of the 2013 Golden Crown Literary Society (GCLS) Poetry Award

Collaboratively Authored Hybrid Works (Poetry/Code/Creative nonfiction)

“CODESWITCH: The Transborder Immigrant Tool,” Electronic Disturbance Theater 2.0/b.a.n.g. lab, coedited by

Amy Sara Carroll and Ricardo Dominguez, work in progress.

[({ })]   The Desert Survival Series/La serie de sobrevivencia del desierto (bilingual edition, Creative Commons

license), Electronic Disturbance Theater 2.0/b.a.n.g. lab, computer code by Brett Stalbaum and Jason Najarro, poetry and statement by Amy Sara Carroll, Spanish translations by Francheska AlersRojas, Julieta Aranda, Elizabeth Barrios, Iván Chaar-López, Natasha Hakimi Zapata, Orquídea Morales, Omar Pimienta and Mary Renda. Ann Arbor: The Office of Net Assessment (The University of Michigan Digital Environments Cluster Publishing Series, coordinators Tung-Hui Hu and John Cheney-Lippold), 2014. (88 pages)

Digital redistribution

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CTHEORY and CTheory Books BLUESHIFT series, edited by Arthur and Marilouise Kroker. University of Victoria, British Columbia, Canada, 2015.

http://ctheory.net/articles.aspx?id=744

http://pactac.net/ctheory-books/blueshift-series/the-transborder-immigrant-toolla-herramienta- transfronteriza-para-inmigrantes/

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Electronic Literature Collection 3, edited by ELC3 Collective Stephanie Boluk, Leonardo Flores, Jacob Garbe, and Anastasia Salter, 2016. http://collection.eliterature.org/3/ CONACULTA E-Literatura/Centro de Cultura Digital Editorial and Revista 404 (Mexico City, Mexico), with interview with Carroll and Ricardo Dominguez by Lorena Gómez Mostajo, Mónica Nepote, and Ximena Atristain, “La herramienta transfronteriza para inmigrantes,” 2016. http://editorial.centroculturadigital.mx/es/publicacion/de-la-ecopoetica-y-los-medios-dislocativos.html http://editorial.centroculturadigital.mx/es/descargable/la-herramienta-transfronteriza-para-inmigrantes.html

Truthdig, Arts & Culture section, complete set of poems published serially, 2016. http://www.truthdig.com/arts_culture/item/transborder_immigrant_tool_series_poetry_survival_us_mexico _border_20160808

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HemiPress (Hemispheric Institute of Performance and Politics Publications, New York University, New

York, NY), multilingual TOME edition (Gestures series) with Nahuatl translations of poetry by Martín

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Vega Olmedo and Eduardo de la Cruz Cruz, Mixe translations of poetry by Luis Balbuena Gómez, and essays by Ashley Ferro-Murray and Sergio Delgado, 2017. http://tbt.tome.press

Refereed Essays

“National Matrimony: Jesusa Rodríguez and Liliana Felipe’s Molcajete Cabaret,” Journal of Narrative Theory
(JNT) (“Women’s Experimental Forms” special issue, edited by Rowena Kennedy-Epstein), forthcoming 2018

“If School Is a Factory, Where is Ana Mendieta?” The Volta, “Evening Will Come: A Monthly Journal of Poetics”
(“Poetry and Power” special forum, edited by Evie Shockley), forthcoming 2017
“[The Fiction of a Doorframe] Further Notes on Undocumentation,” Media Fields Journal 12 (“Media and
Migration” special issue, edited by Bianka Ballina and Carlos Jiménez), January 2017. http://static1.1.sqspcdn.com/static/f/707453/27416587/1484690251200/Carroll- PDF.pdf?token=peMMzNrzPx4pbz%2BDyPxumG0kgug%3D

“From Papapapá to Sleep Dealer: Alex Rivera’s Undocumentary Poetics,” Social Identities: Journal for the

Study of Race, Nation and Culture 19.3-4 (“Political Documentary Cinema in Latin America: Concepts, Histories, Experiences” special issue, edited by Kristi Wilson and Antonio Traverso), May-July 2013: 485-

500. Reprint: Wilson, Kristi and Antonio Traverso, eds. Political Documentary Cinema in Latin America.

New York and London: Routledge, 2014. 211-226.

“Global Mexico’s Coproduction: Babel, Pan’s Labyrinth, and Children of Men,” The Journal of Transnational

American Studies 4.2 (2012) (“Revolutions and Heterotopias” special issue, edited by Micol Seigel, Lessie Jo Frazier, and David Sartorius). http://escholarship.org/uc/item/4bp4x1sg
“EDT 1.0, EDT 2.0, EDT 3.0” and selection of poetry from the Transborder Immigrant Tool, Errata# Revista de
Artes Visuales 3 (“Cultura Digital y Creación/Digital Culture and Creation” special issue), December 2010: 40-64. http://issuu.com/revistaerrata/docs/errata_3_cultura_digital_creaci_n

“Muerte sin fin: Teresa Margolles’s Gendered States of Exception,” The Drama Review (TDR) 54.2 (T206),

Summer 2010: 103–125.
“‘Accidental Allegories’ Meet ‘The Performative Documentary’: Boystown, Señorita Extraviada, and the Border-

Brothel→Maquiladora Paradigm,” SIGNS: Journal of Women in Culture and Society 31.2, Winter 2006:

357-396.
“A Critical Regionalism: The Allegorical Performative in Madre por un día and the Rodríguez/Felipe Wedding,” e- misférica 2.2 (“Sexualities and Politics in the Americas” special issue, edited by Antonio Prieto Stambaugh), November 2005. http://hemi.nyu.edu/journal/2_2/carroll.html

“Incumbent upon Recombinant Hope: EDT’s Strike a Site, Strike a Pose,” The Drama Review (TDR) 47.2 (T178),

Summer 2003: 145-150.

Essays in Edited Volumes

“Lesbianism-Poetry//Poetry-Lesbianism,” The Cambridge Companion to Lesbian Literature, edited by Jodie Medd.
Cambridge: Cambridge University Press, 2015. 188-203.
“Codeswitch: The Transborder Immigrant Tool” and selection of poetry from the project (with translations by
Yanoula Athanassakis [Greek], Lili Hsieh and Zona Yi-Ping Tsou [Mandarin Chinese], and Tatiana Sizonenko [Russian]), Somatic Engagement, edited by Petra Kuppers. San Francisco: Chain Links, 2011. 19-35.
“La lateralización de la historia, Maquilapolis y el efecto de los años 2000 y 2001,” Representación y fronteras: el performance en los límites del género, edited by Hortensia Moreno and Stephany Slaughter. México: UNAM/PUEG/UNIFEM, 2009. 187-201.

Reviews and Encyclopedia Entries

Review of Diana Taylor and Roselyn Costantino, eds., Holy Terrors: Latin American Women Perform and Mónica

Mayer, Rosa chillante: mujeres y performance in México, Revista de Estudios Hispánicos, Winter 2005:

232-234.
“‘Nobody is so Rude/Not to Remember Gertrude’ (On the Work of Gertrude Stein),” Reader’s Guide to Lesbian and
Gay Studies, edited by Timothy Murphy, Chicago: Fitzroy Dearborn Publishers, 2000. 570-572.

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Catalogue and Exhibition Essays

“As Darkroom is to Lightbox, Lourdes Grobet’s Hora y media is to Ingrid Hernández’s La maquila golondrina,” catalogue essay for the exhibition Photography Undone, curators Natalia Brizuela and Jodi Roberts. Cantor Arts Center, Stanford University, forthcoming February 2018.
“Consummate ‘PIAS Forms’: Periodizing Mexico’s 1990s,” catalogue essay for the exhibition Below the

Underground: Renegade Art and Action in 1990s Mexico, curator Irene Tsatsos. Armory Center for the

Arts, Pasadena, CA (“Pacific Standard Time: LA/LA,” The Getty Foundation), forthcoming October 2017.
“El derecho de réplica: Performance—Lorena Wolffer—Performatividad,” exhibition essay for Lorena Wolffer /
Expuestas: registros públicos (July-October 2015), Museo de Arte Moderno, Mexico City, Mexico, 2015. 23-27. http://www.museoartemoderno.com/lorena-wolffer#/catlogo/
“Tina Modotti’s ‘Wonderfull’/Lo ‘Wonderfull’ de Tina Modotti,” commissioned post on Open Space in response to the exhibition Photography in Mexico, the SFMOMA blog, San Francisco Museum of Modern Art, San Francisco, CA, June 2012. http://blog.sfmoma.org/2012/06/a-berlin-no-mexico-city-childhood/

“Todos Somos Echolalia: A Response to Becoming Transreal,” The Transreal: Aesthetics and Politics of Crossing

Realities, edited by Zach Blas and Wolfgang Schirmacher. New York/Dresden: Atropos Press, 2012. 85- 89.
“EDEMA y el/la ciudadano/a ‘posmoderno/a,’” video catalogue essay for the work of Ema Villanueva and Eduardo
Flores, June 2001.
“Los juegos representacionales de Luis Orozco,” catalogue essay for Homenaje a Joan Brossa (solo show of work by Luis Orozco), L’Orfeó Catalá de Mèxic, A.C., October 2000.
“Contracciones,” program description for Contracciones, Centro Nacional de las Artes, México, D.F., September
2000.
“Performing Body-Politics: Belle Rogue Collection’s Runway Interventions,” catalogue essay for Belle Rogue
Collection, Neutral Ground Gallery, Regina, Canada, May 2000: 1-52. http://www.neutralground.sk.ca/library/bellerogue_cat/BelleRogueCatalogue.pdf

Refereed Poetry

“re/D/act” and “BRRINNG!,” Affect and Audience in the Digital Age: Translational Poetics, curated by Amaranth

Borsuk. Los Angeles: Essay Press, Fall 2016 http://www.essaypress.org/wp-content/uploads/2017/02/Borsuk_spreads_150.pdf

“Ze” and reprint of untitled poem, Aster(ix): A Journal of Literature, Art, Criticism (“What We Love” special

issue), December 2016

“MAY DAY || May 2nd” and “The Epic of American Civilization,” DATABLEED V, September 2016

http://www.datableedzine.com/#!amy-sara-carroll-may-day/draz0 http://www.datableedzine.com/#!amy-sara-carroll-epic/i4seh
“The Day José Died,” Pastelegram, November 2015 http://pastelegram.org/y/kegels-for-hegel/the-day-jose-died
“7 Lights after Paul Chan,” “Lumbar Puncture,” “Ganas de Canas,” “LICE,” “Still Life,” and “Escape//Hatch,”

POOL: a journal of poetry 14, August 2015

http://www.poolpoetry.com/poet-amy-sara-carroll.html
Two limited edition broadsides with untitled poems in English and Spanish (designer Jan Murray, University of
Mississippi Professor of Art and Associate Dean of Liberal Arts), distributed by the University of Mississippi, June 2015

“Think Pink,” “‘I see Mexicans dead people,’” and “Beginnings,” Lana Turner: A Journal of Poetry and Opinion

7, October 2014
Nine poems from the Transborder Immigrant Tool’s “Desert Survival Series” and Statement by Carroll (in English and Spanish) and interview with Carroll, Elizabeth Barrios and Mary Renda, Tiresias: Culture, Politics and Critical Theory 6 (“Elements of Matter” special issue), October 2014, 2-26 and 133-151; Statement by Carroll and select poems from the “Desert Survival Series” (in English and Spanish)
“Alegoría” and “Despierta,” The Capilano Review 3.23 (“Languages” special issue, edited by Sarah Dowling),
May 2014
“Lost Object,” “The Beets,” and “Speed Queen” (set of three image-poems distributed as limited edition postcards),
Displaced Press, May 2011

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“Built Environmental –isms,” two untitled poems from the Transborder Immigrant Tool (with translations by
Petra Kuppers [German] and Yanoula Athanassakis [Greek]), and two earth art poems from the Public Poetry Project featured on Poets for Living Waters (a poetry action), June 2010 http://poetsgulfcoast,wordpress.com/2010/06/13/929/
“Pipe Dream” and “Family Portrait,” HOW2 (“Performance and Poetry” special issue), December 2009 http://www.asu.edu/pipercwcenter/how2journal/vol_3_no_3/performance/index.html
“‘Lloro cuando se quema el arroz…’” and “The Beets,” Version, November 2009 http://version.org/
“What Is the Difference Between Globalization and Neoliberalism?,” “Corpus Christi Corrido,” and “Transition
(song of my cells),” vandal (“Borders and Walls” special issue, edited by Angie Cruz), September 2009; Reprint: “What Is the Difference Between Globalization and Neoliberalism?,” Aster(ix): A Journal of

Literature, Art, Criticism, Fall 2013

http://asterixjournal.com/difference-globalization-neoliberalism-amy-sara-carroll/
“Arrested Development,” Jubilat 16, Summer 2009 “i” and “Process Note,” Rattle (“Tribute to Visual Poetry” special issue), Summer 2008 http://www.rattle.com/i-by-amy-sara-carroll/
“Transparent I” & “Transparent II” in “Anarcha-Anti-Archive” (website designed by Petra Kuppers and Jay

Steichmann), Liminalities: A Journal of Performance Studies 4.2 (2008)

http://liminalities.net/4-2/
“Let Down,” “Ovulation,” “Late Onset Particle Capitalism,” and “Thrombotic” in Not for Mothers Only:

Contemporary Poets on Child-Getting and Child-Rearing, edited by Catherine Wagner and Rebecca Wolff,

Fence Books, May 2007
“Imagine” and “Papantla,” Talisman (“Poetry from North Carolina” special issue, edited by Joseph Donahue), Fall
2005

“To Amuse,” Carolina Quarterly, Fall 2005

“Simultaneous Translation,” The Displayer (chapbook), Lucipo (Lucifer Poetics Group), Triangle Area, North
Carolina, June 2005
“March,” “San Patricio,” “Breathe,” and poem-prints “D,” “LL,” and “V/W” along with interview (by Heidi Bean),

The Iowa Review, June 2004

http://www.uiowa.edu/~iareview/tirweb/feature/carroll/index.html
“Tough Girl,” chapbook, Lucipo (Lucifer Poetics Group), Triangle Area, North Carolina, June 2004 “Una parábola de un paraguas,” Fusión, October 2002

Poem-print “Interracial,” This Bridge We Call Home: Radical Visions for Transformation, edited by Gloria

Anzaldúa and AnaLouise Keating, Routledge, 2002
“Grief” and poem-print “Mama-Donna,” Mamibaile (chapbook), September 2001

Web page poem-print “G” for Women in Literature and Letters, 2001

“Kith and Kin,” “October,” and poem-print “Shhh” (formerly “S”), Big Allis, Fall 2000, Reissue: Jacket2, July 2013 https://media.sas.upenn.edu/jacket2/pdf/reissues/big-allis/J2_Reissues_BIG-ALLIS-9_2000.pdf

Web page poem-print “WILL” for Women in Literature and Letters, 2000

“Secession” (in English and Spanish translation) and poem-prints “O” and “Te extraño,” Les Voz (honorable mention in “poesía erótica lésbica”), 1999
Poem-print “Q,” cover art for Crayon, 1999 “I,” “You,” “We,” “San Patricio,” and “Celos,” Mandorla, Spring 1999 “Tamarind for Cameron” and poem-print “M,” Chain 5 (“Different Languages”), Summer 1998

“Risky,” Bombay Gin, 1997

“July,” “August,” and “September,” Seneca Review, Fall 1996

“Life,” Borderlands: Texas Poetry Review, Fall/Winter 1995

“Cascarones” and “Travelers,” Faultline, Spring 1995 “Juchitán” and “Las Momias de Guanajuato,” Anthropology and Humanism Quarterly (16.2), 1991

Collaboratively Authored Plays, Essays, Portfolios, and Editorials

“Of Co-Investigation and Aesthetic Sustenance: A Conversation between Colectivo Situaciones and Electronic
Disturbance Theater 2.0/b.a.n.g. lab,” by Amy Sara Carroll, Ricardo Dominguez, and Colectivo

Situaciones, Collective Situations: Readings in Contemporary Latin American Art 1995-2010, edited by

Grant Kester and Bill Kelley, Jr., Durham: Duke University Press, forthcoming 2017

Operation Faust & Furioso: A Trans [   ] border Play on the Redistribution of the Sensible, Electronic Disturbance

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    Introduction Rebecca E. Biron City/Art: Setting the Scene La ciudad entonces tiene y vive el color del símbolo. Y el símbolo de cada ciudad no se produce solo, sino en estrecha convivencia y por tejido hecho por los ciudadanos que la habitan, la recorren y la representan. La ciudad de ese modo es creación estética permanente. Y también tejido simbólico. —Armando Silva, Imaginarios urbanos, Bogotá y São Paulo Rio de Janeiro. Miami. Buenos Aires. Mexico City. São Paulo. Santiago de Chile. Caracas. Lima. Havana. Bogotá. Montevideo. Brasília. La Paz. Tijuana. These cities are nodal points in Latin America’s cultural tapestry. They pro- vide that tapestry with strength and structure, but they also pose knotty problems for those who wish to identify and appreciate all the threads they bring together. Students of today’s Latin American urban scene face the challenge of untangling the historical, economic, and political threads that combine to produce these cities. At the same time, they must avoid reducing each lived, creative city to any one of those threads; such limitation would render the cultural tapestry illegible. The cities one can live in, visit, or ana- lyze emerge as the material results of violence and social conflict, ideologi- cal agendas, economic practices, architectural vision, and survival strate- gies. Some of these elements are formal, legally sanctioned, and organized; they have names. Others are informal, illegal, or spontaneous; they may be anonymous or collective. All of these creative forces intertwine with one an- other to produce cities that are inextricably tied to place and time even as they also participate in a global network of meanings.
  • Year-End Report U.S

    Year-End Report U.S

    MRC DATA YEAR-END REPORT U.S. 2020 PRESENTED IN COLLABORATION WITH BILLBOARD 1 Introduction VERYTHING CHANGED IN 2020. AND THAT INCLUDES OUR TEAM here at MRC Data, which rolled out several exciting new products and announced a new strategic alliance that will shape our future. In September, we introduced the first global charts with our partners at Billboard. In their three months, the charts were led by artists like EAriana Grande, Cardi B and Maluma (turn to page 5 for lots more insights from our first year of global metrics). Just one month later, we announced an exciting new partnership with Penske Media that will allow us to bring even more value to the industry and our clients. We are proud to be the steward of the definitive music industry and our global charts are a first-of-its-kind resource for the industry, offering comprehensive insight into songs and artists with international impact, as well as burgeoning music trends that have yet to reach the United States. Through our joint venture with PMC we added their industry revered Alpha Data and Variety Business Intelligence to our suite of products making us the leading provider of entertainment data and More Time with Music analytics tools. As we reflect on a challenging AS OF NOV. 16, PEOPLE SPENT MORE TIME WITH THESE ACTIVITIES THAN THEY DID JUST TWO WEEKS PREVIOUSLY. but rewarding year in 2020, we are excited and enthusiastic about the one ahead. MUSIC 46% Of course, there were plenty of other changes SHORT-FORM this year. Before the coronavirus pandemic led VIDEOS 46% to nationwide lockdowns, the music industry SOCIAL MEDIA 46% was doing great.
  • Prensario Música & Video

    Prensario Música & Video

    Prensario música & video | Agosto 2017 Prensario música & video | Agosto 2017 Prensario música & video | Agosto 2017 Prensario música & video | Agosto 2017 editorial ARGENTINA / AGENDA / SHOWBUSINESS El Rock, con tarjeta de crédito SE LANZÓ EL PERSONAL FEST CON POPART Y EL LOLLAPALOOZA TRES DÍAS EN 2018 Una foto de Alfredo González Barros Hubo novedades en el showbusiness argen- destaca a Luis Fonsi el 1, 2 y 3 de septiembre en tino. Por un lado, Rock & Reggae de Eduardo el Luna Park, además de hacer Il Volo en igual re- n las últimas semanas cerró una de las disquerías Sempé pudo concretar con éxito la serie de re- ducto el 28 de septiembre y a Zucchero en el Co- más notorias de la Argentina, AGB de Mar del Plata. citales de La Renga en Huracán, que venía con liseo 13 y 14 de octubre. Pero sigue sus dosis de ETenía 38 años de trayectoria y a uno de los persona- polémicas y problemas con las autoridades tras liderazgo en lo anglo con Def Leppard el 28 de jes más queribles de la industria musical, Alfredo González el efecto Indio Solari. Pero como dice el direc- septiembre y sobre todo para octubre los Guns Barros. Además de su carácter siempre alegre e incansable, tor general de Ticketek Fernando Bolan en su y The Who el 1 de octubre en el Estadio Único, Alfredo es reconocido en y fuera del medio por su costum- reportaje, se rompió el mito que el rock no usa además de Aerosmith el 3 de octubre en Rosa- La Renga bre de sacarse fotos con los artistas.
  • Year-End Report Canada 2020 Presented in Collaboration with Billboard

    Year-End Report Canada 2020 Presented in Collaboration with Billboard

    MRC DATA YEAR-END REPORT CANADA 2020 PRESENTED IN COLLABORATION WITH BILLBOARD 1 Introduction VERYTHING CHANGED IN 2020. AND THAT INCLUDES OUR TEAM here at MRC Data, which rolled out several exciting new products and announced a new strategic alliance that will shape our future. In September, we introduced the first global charts with our partners at Billboard. In their three months, the charts were led by artists like EAriana Grande, Cardi B and Maluma. (Turn to page 5 for more insights from our first year of global metrics.) Just one month later, we announced an exciting new partnership with Penske Media that will allow us to bring even more value to the industry and our clients. We are proud to be the steward of the definitive music industry and our global charts are a first-of-its-kind resource for the industry, offering comprehensive insight into songs and artists with international impact, as well as burgeoning music trends that have yet to reach Canada. Through our joint venture with PMC we added their industry revered Alpha Data and Variety Business Intelligence to our suite of products making us the leading provider of entertainment data and analytics tools. As we More Time with Music reflect on a challenging but rewarding year in 2020, AS OF NOV. 16, PEOPLE SPENT MORE TIME WITH THESE ACTIVITIES THAN THEY DID JUST TWO WEEKS PREVIOUSLY. we are excited and enthusiastic about the one ahead. MUSIC 46% Of course, there were plenty of other changes SHORT-FORM this year. Before the COVID-19 pandemic led to VIDEOS 46% nationwide lockdowns, the music industry was SOCIAL MEDIA 46% doing great.
  • Lógicas De Reconocimiento De Los Videoclips De La Cantante Sia En Los Comentarios De Youtube

    Lógicas De Reconocimiento De Los Videoclips De La Cantante Sia En Los Comentarios De Youtube

    Universidad Nacional de Rosario Facultad de Ciencia Política y Relaciones Internacionales Lógicas de reconocimiento de los videoclips de la cantante Sia en los comentarios de YouTube. Tesina de Grado de la Licenciatura en Comunicación Social Alumna: Samanta Baez Director: Hugo Berti Rosario 2020 RESUMEN El recorrido histórico de los entornos digitales nos conduce a pensar necesariamente en la aparición y consolidación de YouTube en nuestra sociedad, una plataforma de distribución de contenidos audiovisuales que se asentó en una sociedad enteramente audiovisual y repleta de pantallas. La presente investigación aborda cómo este sitio web posibilita un espacio de producción e intercambio de sentidos en relación a uno de sus productos audiovisuales más frecuentes: los videoclips. Se analizarán los sentidos en reconocimiento que pueden estudiarse a partir de los discursos que producen los usuarios que allí participan por medio de comentarios. Este estudio es un análisis discursivo de las publicaciones que los usuarios realizaron en videoclips de la cantante Sia, cuyos videos fueron protagonizados por la bailarina profesional Maddie Ziegler, joven protagonista de sus producciones audiovisuales. La tesina tiene como objetivo describir las lógicas de reconocimiento de los videoclips de la cantante en los comentarios de los usuarios de YouTube. Disponiendo de los comentarios sobre los videoclips seleccionados, se construye una clasificación de lógicas de reconocimiento, a partir de un enfoque metodológico propuesto con la intención de analizar el discurso de los usuarios de esta plataforma desde una perspectiva sociodiscursiva. Se procede además a comprender las condiciones de reconocimiento de los videoclips seleccionados de Sia que circulan a través de YouTube. El estudio reflexiona sobre estos entornos de circulación de contenidos audiovisuales como condiciones de producción de sentidos.
  • Pop Art Discos: Lanzamientos En Vinilo Leader Entertainment: Cumbiatube: Pop Art Discos Sigue En El Mes De Obras Y El Mamut De Massacre Entre Tus Brazos Con Coti

    Pop Art Discos: Lanzamientos En Vinilo Leader Entertainment: Cumbiatube: Pop Art Discos Sigue En El Mes De Obras Y El Mamut De Massacre Entre Tus Brazos Con Coti

    Mayo 2021 | Año 47 · Edición Nº 573 P × 2 Prensario Música visitanos en www.prensariomusica.com nuestras redes sociales @prensariomusica Prensario Música P × 3 Mayo 2021 | Año 47 · Edición Nº 573 P × 2 Prensario Música visitanos en www.prensariomusica.com nuestras redes sociales @prensariomusica Prensario Música P × 3 Editorial Mayo 2021 | Año 47 · Edición Nº 573 AGENDA • SHOWBUSINESS • PRODUCTORAS LÍDERES • ARGENTINA POR ALEJO SMIRNOFF Apuesta al Pasaporte Cultural Resurge el streaming con shows internacionales Instagram: alejoprensario E-mail: [email protected] Ya avanzando el mes de mayo, efectivamente de Marcelo Fígoli, se vino la segunda ola de la pandemia. Si bien que también cre- eso era previsible, lamentablemente las conse- ce en rubro radio cuencias para el showbusiness por las medidas con Alpha Media. Del LAMC y los Latin Power tomadas por el gobierno argentino son peores Tambén destaca- de lo que pensábamos al decir que no había mos un streaming de Billboard al Gardel vuelta atrás con las habilitaciones que se habían de Pablo Alborán con el obtenido. Con la limitación del horario a las 20 equipo regional de Get in de Este mes tuvimos el anuncio de los ejecutivos También, se refirieron a dos tendencias recien- horas toda la industria del vivo quedó paralizada Paula Narea para principios de junio. International Power Players —la versión para el tes pero muy concretas: Primero, el content deve- y, de alguna manera, volvimos a la temida fase mearcado doméstico— de revista nuestra colega lopment con servicios de streaming de televisión 1 de la cuarentena donde la música es de las Pablo Alborán tiene su streaming con Get In Grandes shows para el segundo Billboard que, si bien son muchos mencionados, como Disney+ o Netflix, que si está acompañada > Sumario, en esta edición industrias más perjudicadas con imposibilidad semestre dan una idea de lo que es la elite de la industria.
  • How Major Music Companies Are Depending on Debt and Credit To

    How Major Music Companies Are Depending on Debt and Credit To

    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayJULY 8, 2020 Page 1 of 19 Leader; Travis Denning Makes History INSIDE How Major Music Companies Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music GroupAre Nashville), debutsDepending at No. 1 on Billboard’s lion audience on impressions, Debt up 16%). and Credit Top •Country Music StreamingAlbums chart dated April 18. In its first week (ending April 9), it earnedand 46,000 Sales Rebound equivalent album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cording— toWill Nielsen Concerts Music/MRC Data. to Weatherand total Country the Airplay Pandemic No. 1 as “Catch” (Big Machine Label Group) ascends SouthsideFollow Suit?marks Five Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chartKey and Insights fourth top From 10. It follows freshman LP BY GLENN PEOPLES Young’s first of six chart entries, “Sleep With- MontevalloNew Nielsen, which Music/ arrived at the summit in No - out You,” reached No. 2 in December 2016. He MRC Data COVID-19 vember 2014 and reigned for nineOn weeks. March To date,12, as the coronavirus spread from Europe Others wantfollowed an insurance with the policy multiweek against No.