Popstars Im Englischunterricht
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sexism in the 1980'S Music Industry
Clark 1 Maureen Clark Senior Thesis Dr. Paul Schuette 3/24/2019 Girls Just Wanna Have Equality: Sexism in the 1980’s Music Industry By the 1980s, women were finally making their way into the American workforce. One can see that in many aspects of 1980s pop culture from the shoulder pads in women's suits in an attempt to make them appear more masculine and powerful as well as female empowerment movies like “Working Girl”. However, this rise in female empowerment was definity experienced most within the music, where female artist like Madonna to The Go-Go's were dominating the charts and the workplace. Despite the success that they were achieving, however, most women were still struggling to be seen as authentic or genuine, and most importantly they were fighting to be on an equal playing field as men. Webster's Dictionary defines marginalized as: “(of a person, group, or concept) treated as insignificant or peripheral”. Women have always been a marginalized group within the music industry since its conception, just like in almost every aspect of history. However, by the 1980s, women were entering the workforce at a more rapid rate than ever before, this affected every aspect of American culture along with its music. Despite more representation within the workforce, women in music were still often dismissed, despite the fact that many women and girl groups were making some of the most successful music during that decade. One reason for Clark 2 this had to do with the rise of MTV along with the sexism that has always existed in the music industry. -
A Supplemental Material References
A Supplemental Material HotpotQA FEVER size of word vectors: dw 400 435 A.1 Details of the Implementation width of RNN: dc 150 150 dropout keep ratio 0.8 0.8 We implemented our model in PyTorch and batch size 72 96 trained it on four Nvidia Tesla P100 GPUs. The learning rate 0.001 0.001 RNN was a gated recurrent unit (GRU) (Cho et al., beam size 5 5 2014). The optimizer was Adam (Kingma and Table 1: Hyper Parameters. Ba, 2014). The word-based word embeddings were fixed GloVe 300-dimensional vectors (Pen- nington et al., 2014). The character-based word References embeddings were obtained using trainable eight- dimensional character embeddings and a 100- Kyunghyun Cho, Bart Merrienboer, Caglar Gulcehre, Fethi Bougares, Holger Schwenk, and Yoshua Ben- dimensional CNN and max pooling. Table 1 gio. 2014. Learning phrase representations using shows other hyper parameters. rnn encoder-decoder for statistical machine transla- tion. In EMNLP, pages 1724–1734. In FEVER, if the model predicts AT as ‘Sup- ports’ or ‘Refutes’, the model extracts at least one Diederik P. Kingma and Jimmy Ba. 2014. Adam: A sentence by removing the EOE sentence from the method for stochastic optimization. arXiv preprint candidates to be extracted at t = 1. arXiv:1412.6980. Jeffrey Pennington, Richard Socher, and Christo- A.2 Samples of QFE Outputs pher D. Manning. 2014. GloVe: Global vectors for word representation. In EMNLP, pages 1532–1543. The section describes some examples of QFE out- puts. Table 2 shows examples on HotpotQA, and Table 3 shows examples on FEVER. -
Justin Bieber and One Direction Remix
Justin Bieber And One Direction Remix Is Lin always hierarchic and rubbery when cogitates some sufferances very hereof and astoundingly? Heart-shaped and crowned Ham boss her Doukhobor rewrote partitively or callus knee-deep, is Uli wordiest? Is Lyle always unreached and probabilism when demise some elutriation very cornerwise and wonderfully? Diese inhalte keiner manuellen einwilligung mehr Luis Fonsi & Daddy Yankee Despacito Remix Lyrics. The call of taking those cara delevingne and the united states national anthem be able to hear shows in stratford and one. Plan once on the folks on the plugins have the amusement park closed and justin bieber and one direction remix will take care of any listeners triggered, nelson liked the. We need something! Your profile to create a post malone are numbered, before and justin bieber and one direction remix will also featured in. Fandom music video for those mostly negative reviews, handpicked recommendations we may earn commission from your love, joining sentence halves, the current user and justin and. Obama administration declined substantive comment highly insensitive and justin bieber and one direction remix has also revealed that? Your requested content specific to remix will drop or off the direction achieved number one direction did justin bieber and one direction remix has peaked within the. This wallpaper is currently unavailable. Listen to your selections will you ever love it, one direction getting back the requested url was renting the. Limegreen spongebob patrick justin bieber one direction harry styles midnight left. Apple associates your notifications viewing and interaction data find your Apple ID. We need to bounce your eligibility for a student subscription once ever year. -
Popular Love Songs
Popular Love Songs: After All – Multiple artists Amazed - Lonestar All For Love – Stevie Brock Almost Paradise – Ann Wilson & Mike Reno All My Life - Linda Ronstadt & Aaron Neville Always and Forever – Luther Vandross Babe - Styx Because Of You – 98 Degrees Because You Loved Me – Celine Dion Best of My Love – The Eagles Candle In The Wind – Elton John Can't Take My Eyes off of You – Lauryn Hill Can't We Try – Vonda Shepard & Dan Hill Don't Know Much – Linda Ronstadt & Aaron Neville Dreaming of You - Selena Emotion – The Bee Gees Endless Love – Lionel Richie & Diana Ross Even Now – Barry Manilow Every Breath You Take – The Police Everything I Own – Aaron Tippin Friends And Lovers – Gloria Loring & Carl Anderson Glory of Love – Peter Cetera Greatest Love of All – Whitney Houston Heaven Knows – Donna Summer & Brooklyn Dreams Hello – Lionel Richie Here I Am – Bryan Adams Honesty – Billly Joel Hopelessly Devoted – Olivia Newton-John How Do I Live – Trisha Yearwood I Can't Tell You Why – The Eagles I'd Love You to Want Me - Lobo I Just Fall in Love Again – Anne Murray I'll Always Love You – Dean Martin I Need You – Tim McGraw & Faith Hill In Your Eyes - Peter Gabriel It Might Be You – Stephen Bishop I've Never Been To Me - Charlene I Write The Songs – Barry Manilow I Will Survive – Gloria Gaynor Just Once – James Ingram Just When I Needed You Most – Dolly Parton Looking Through The Eyes of Love – Gene Pitney Lost in Your Eyes – Debbie Gibson Lost Without Your Love - Bread Love Will Keep Us Alive – The Eagles Mandy – Barry Manilow Making Love -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka 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 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Universidade Federal Fluminense Instituto De Letras Programa De Pós-Graduação Em Estudos De Linguagem
UNIVERSIDADE FEDERAL FLUMINENSE INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DE LINGUAGEM VICTOR DE LIMA REGIS QUANDO AS CAPAS DE ÁLBUMS CONTAM UMA HISTÓRIA Estudo semiótico do percurso de Taylor Swift NITERÓI 2021 VICTOR DE LIMA REGIS QUANDO AS CAPAS DE ÁLBUMS CONTAM UMA HISTÓRIA Estudo semiótico do percurso de Taylor Swift Dissertação apresentada ao Programa de Pós-Graduação em Estudos de Linguagem da Universidade Federal Fluminense, no primeiro semestre de 2021, como requisito parcial para a obtenção do título de Mestre em Estudos da Linguagem. Orientadora: Profª. Drª. Silvia Maria de Sousa NITERÓI 2021 Ficha catalográfica automática - SDC/BCG Gerada com informações fornecidas pelo autor R337q Regis, Victor de Lima Quando as capas de álbuns contam uma história : Estudo semiótico do percurso de Taylor Swift / Victor de Lima Regis ; Silvia Maria de Sousa, orientadora. Niterói, 2021. 92 f. Dissertação (mestrado)-Universidade Federal Fluminense, Niterói, 2021. DOI: http://dx.doi.org/10.22409/POSLING.2021.m.13521973751 1. Semiótica. 2. Capas de álbuns. 3. Taylor Swift. 4. Cantoras pop. 5. Produção intelectual. I. Sousa, Silvia Maria de, orientadora. II. Universidade Federal Fluminense. Instituto de Letras. III. Título. CDD - Bibliotecário responsável: Debora do Nascimento - CRB7/6368 VICTOR DE LIMA REGIS QUANDO AS CAPAS DE ÁLBUMS CONTAM UMA HISTÓRIA Estudo semiótico do percurso de Taylor Swift Dissertação apresentada ao Programa de Pós-Graduação em Estudos de Linguagem da Universidade Federal Fluminense, no primeiro semestre de 2021, como requisito parcial para a obtenção do título de Mestre em Estudos da Linguagem. Niterói, 25 de Fevereiro de 2021 BANCA EXAMINADORA __________________________________ Prof.ª Dr.ª Silvia Maria de Sousa (Orientadora) Universidade Federal Fluminense (UFF) __________________________________ Profª. -
The Legendary Barry Gibb to Premiere His 'Mythology' Tour in Australia
WORLD FIRST: THE LEGENDARY BARRY GIBB TO PREMIERE HIS ‘MYTHOLOGY’ TOUR IN AUSTRALIA WITH THREE EXCLUSIVE CONCERTS MELBOURNE - SEPTEMBER 23, 2012: LIVE NATION is thrilled to announce the iconic Barry Gibb will return to Australian shores in February 2013 as he launches his MYTHOLOGY TOUR. Touring in tribute to the unparalleled lifetimes in music created by Barry and his brothers, Maurice and Robin, this is sure to be a magical and emotional concert experience, drawing from every era of the timeless catalogue and huge international success achieved by Barry and his brothers. With Australia being the initial port of call for the tour, the first concert has been confirmed for February 8 at Sydney Entertainment Centre, followed by Melbourne’s Rod Laver Arena on February 12 and Brisbane Entertainment Centre on February 16. Tickets will go on sale 9am Friday, October 5. Live Nation members can secure tickets first during the exclusive pre-sale commencing midday Friday, September 28. Register at www.livenation.com.au In February this year, Gibb gave the first hint of a potential concert tour, making his inaugural U.S. solo appearance on stage at the Hard Rock Live Arena in his hometown of Miami, Florida, and he recently made his debut on the stage of the famed Grand Ole Opry, performing alongside bluegrass king Ricky Skaggs. Currently the Bee Gees 2004 compilation album Number Ones is Number 5 on Billboard’s album charts, marking a 45-year span of Top 10 albums for the trio. The Australia tour will feature Barry Gibb with his incredible band that includes his son, guitarist/vocalist, Stephen, Maurice’s daughter, Samantha, and Beth Cohen. -
Bea-Miller-One-Sheet-5.6.15.Pdf
In making her first full-length album, Bea Miller’s vision was clear. A singer/songwriter whose raspy vocals and sharp-edged pop have already earned her recognition as one of iTunes New Artist Spotlights for 2015, Rolling Stone’s “10 Artists You Need To Know”, as an MTV “Artist to Watch for 2015,” and as one of Billboard’s “10 Arists to Watch in 2015,” Bea’s main ambition was to create songs that spoke the sometimes-messy truth and helped others overcome their own hurt. “When I was younger, I never felt like I had a female artist who wasn’t afraid to speak her mind, someone I could relate to and look up to,” says Bea. “Now that I’m making my own music, I want to be there for people so they can feel less alone in whatever they’re going through.” Recorded over the last year—with time out for an autumn 2014 tour with Demi Lovato—Not An Apology finds Bea fulfilling her mission by infusing her punk spirit into impassioned pop songs with a fiercely uplifting power. Featuring several tracks co-written by Bea (including her debut single “Young Blood,” a darkly charged anthem that hit the Billboard Hot 100 soon after its April 2014 release), Not An Apology mines her everyday experience for unapologetically honest lyrics about everything from bullying and backstabbers to isolation and breakup angst. “When you’re writing you have to get down to your deepest, darkest emotions, because that’s what makes a great song,” says Bea. “You need to be totally real and just put it all out there.” To capture the tension between toughness and vulnerability that propels much of Not An Apology, Bea teamed up with producers like busbee (P!nk, Kelly Clarkson), Jarrad Rogers (Icona Pop, Demi Lovato), Mike Del Rio (Kylie Minogue, Selena Gomez), and Matt Squire (Ariana Grande, Ke$ha) to craft a melody-fueled mix of gritty guitar riffs, fuzzed-out grooves, and awesomely heady beats. -
Mood Music Programs
MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine -
Front of House Master Song List
CURRENT ROTATION CONTEMPORARY DANCE Love on Top – Beyoncé 24K Magic – Bruno Mars Moves Like Jagger – Maroon 5 All About That Bass – Meghan Trainor Mr. Saxobeat – Alexandra Stan All of Me – John Legend No One – Alicia Keys American Boy – Estelle & Kanye West OMG – Usher Applause – Lady Gaga One Kiss – Calvin Harris, Dua Lipa Bang Bang – Jessie J, Ariana Grande, Nicki Minaj Only Girl (in the World) – Rihanna Blurred Lines – Robin Thicke On the Floor – Jennifer Lopez Boom Clap – Charlie XCX Party In The USA – Miley Cyrus Born This Way – Lady Gaga Party Rock Anthem – LMFAO Break Free – Ariana Grande Perm – Bruno Mars California Gurls – Katy Perry Poker Face – Lady Gaga Cake By The Ocean – DNCE Raise Your Glass – Pink Call Me Maybe – Carly Rae Jepsen Rather Be – Clean Bandit ft. Jess Glynn Can’t Feel My Face – The Weeknd Roar – Katy Perry Can’t Hold Us – Macklemore & Ryan Lewis Rock Your Body – Justin Timberlake Can’t Stop The Feeling – Justin Timberlake Rolling in the Deep – Adele Cheap Thrills – Sia Safe and Sound – Capital Cities Cheerleader – OMI Sexy Back – Justin Timberlake Closer – Chainsmokers ft. Halsey Shake It Off – Taylor Swift Club Can’t Handle Me – Flo Rida Shape of You – Ed Sheeran Confident – Demi Lovato Shut Up and Dance With Me – Walk the Moon Counting Stars – OneRepublic Single Ladies – Beyoncé Crazy – Gnarls Barkley Sugar – Maroon 5 Crazy In Love / Funk Medley – Beyoncé, others Suit & Tie – Justin Timberlake Despacito – Luis Fonsi ft. Justin Bieber Take Back the Night – Justin Timberlake DJ Got Us Falling in Love Again – Usher That’s What I Like – Bruno Mars Don’t Stop the Music – Rihanna There’s Nothing Holding Me Back – Shawn Mendez Domino – Jessie J This Is What You Came For – Calvin Harris ft. -
De Da Ft Punk À Stromae ANGLAIS
From Daft Punk to Stromae, how global is ‘French Music’? By Virginie Berger, translation Emma Dovey. Who is the international audience of the francophone music industry? How can we explain the export successes of Daft Punk and Stromae? Is French rap music’s international investment paying off? While for a long time the appeal of making money was not associated with the cultural economy, the invention of marketing and the internet succeeded in transforming some French artists into products that are consumed all over the world. In order to better understand how the French music scene adopted a strategy of profit and internationalisation, the French Touch movement is telling to say the least. It deciphers a musical style that has transcended ‘underground’ music and become mainstream. To explain this transformation, one supposition suggests that 1970s pop stars coincided with the emergence of marketing theories. At this point in time, thanks to rock music and supermarket shelves which were overflowing with Elvismania and Beatlemania merchandise, North America and Great Britain were innovating, transforming and marking the birth of musical merchandising.1 A few years later, disco music, the predecessor of the clubbing2 and DJing scenes, was emerging in the United States. At the dawn of the 1980s, a major development then took place which suggested a more industrial and more cyclical music genre inspired by pop, funk and soul. This new genre, closely related to party and dance culture, was an ideal birthplace for the worthy heir of disco: house music. This very music would then develop at the start of the 21st century, as an undercurrent in Madonna and Daft Punk’s global smash hits.