Anze Skrube Resume

Total Page:16

File Type:pdf, Size:1020Kb

Anze Skrube Resume anze skrube choreographer contact: 818 509-0121 < TELEVISION > Dancing With The Stars – Derek Hough ABC Dance Showdown with D-TRIX DanceOn Inna- FAMA TV Ultra Records (Madrid, Spain) Inna- PRINCIPALES 40 Awards Ultra Records (Madrid, Spain) Inna- BMA Awards Universal Records (Sofia, Bulgaria) Eurovision Song Contest Quartissimo EBU (Moscow, Russia) ESC – Maja Keuc EBU (Dusseldorf, Germany) ESC – Mandinga EBU (Baku, Azerbaijan) ESC – Hannah Mancini EBU (Malmo, Sweden) <LIVE STAGING> Lindsey Stirling Tour US, Europe Severina- DUK 2013 Europe Tour INNA- NRJ Music Awards Universal Records (Cannes, France) INNA- Viva Music Awards Ultra Records (Warsaw, Poland) INNA- Starfloor Music Awards Universal Records (Paris, France) Expo Ministry of Culture (Shanghai, China) Inna – Concert de Tolerance (Agadir, Morocco) Christian Audigier Showcase (Barcelona, Spain) Severina DUK Arena Stadium Dallas Records (Zagreb, Croatia) Inna Concert Show 2012 Global Records (Bucharest, Romania) Perpetuum Jazzile Concert Dallas Records (Ljubljana, Slovenia) <MUSIC VIDEO > Lindsey Stirling “Stars Align” Dir. Nathan Lee INNA feat. Flo Rida “Club Rocker” Dir. Alex Herron Hannah Mancini “Straight Into Love” Dir. Anze Skrube Simplu “Dancer For Money” Dir. MediaPro Mandinga feat. Maestro “Party All Night” Dir. Florin G. Botea Maja Keuc “No One” Dir. Igor Zupe <MASTER CLASSES > Millennium Dance Complex Los Angeles Movement Lifestyle Los Angeles Whogotskillz NATIONWIDE The Hip Drop Sweden, Denmark NSJ Masterclass Belgium Kamata International Belgium Urban Dance Camp Germany .
Recommended publications
  • Mad Radio 106,2
    #WhoWeAre To become the largest Music Media and Services organization in the countries we operate, providing services and products which cover all communication & media platforms, satisfying directly and efficiently both our client’s and our audience’s needs, maintaining at the same time our brand's creative and subversive character. #MISSION #STRUCTURE NEW MEDIA TV EVENTS RADIO WEB INTERNATIONAL & SERVICES MAD 106,2 Mad TV www.mad.gr DIGITAL VIDEO MUSIC MadRADIO Mad TV CYPRUS GREECE MARKETING AWARDS Mad HITS/ CONTENT Mad TV MADWALK 104FM SOCIAL MEDIA OTE Conn-x SERVICES ALBANIA Mad GREEKζ/ MAD MUSIC ANTENNA EUROSONG NOVA @NOVA SATELLITE MAD PRODUCTION NORTH STAGE Dpt FESTIVAL YouTube #TV #MAD TV GREECE • Hit the airwaves on June 6th, 1996 • One of the most popular music brands in Greece*(Focus & Hellaspress) • Mad TV has the biggest digital database of music content in Greece: –More than 20.000 video clips –250.000 songs –More than 1.300 hours of concerts and music documentaries –Music content database with tens of thousands music news, biographical information –and photographic material of artists, wallpapers, ring tones etc. • Mad TV has deployed one of the most advanced technical infrastructures and specialized IT/Technical/ Production teams in Greece. • Mad TV Greece is available on free digital terrestrial, cable, IPTV, satellite and YouTube all over Greece. #PROGRAM • 24/7 youth program • 50% International + 50% Greek Music • All of the latest releases from a wide range of music genres • 30 different shows/ week (21 hours of live
    [Show full text]
  • Acting the Nation
    Acting the Nation Women on the Stage and in the Audience of Theatre in the Late Ottoman Empire and Early Turkish Republic Cora Skylstad TYR 4590 – Master’s thesis in Turkish Studies Area Studies of Asia, the Middle East and Africa Department of Cultural Studies and Oriental Languages UNIVERSITY OF OSLO October 2010 ii iii Abstract In the first decades of the 20th century, the public position of actresses underwent a radical transformation in Turkey. While the acting profession had long been commonly regarded as unsuitable for Muslim women and had been monopolized by women belonging to the non- Muslim minorities, in the 1920s the Muslim actress was not only legitimized but in fact embraced by the state as a model for Turkish women. In the works of Turkish and Ottoman theatre history, the emergence of Muslim actresses has been given some attention, but it has not been studied from a critical perspective inspired by theoretical questions. Moreover, the process of legitimization of Muslim women as theatre audience, which took place prior to the legitimization of the actresses, has been ignored. The present thesis seeks to develop a better understanding of these developments by approaching them as part of social and political history, while drawing inspiration from an interdisciplinary field of scholarship on gender and theatre. The time period studied begins with the late era of the Ottoman Empire and ends with the early years of the Turkish Republic, covering a time span of more than fifty years. In order to capture the complexities of the subject, a wide array of written sources, including memoirs, interviews, theatre reviews, books and a theatre play, are included in the analysis.
    [Show full text]
  • Eurovision’ European Contest ∗
    Repositorio Institucional de la Universidad Autónoma de Madrid https://repositorio.uam.es Esta es la versión de autor de la comunicación de congreso publicada en: This is an author produced version of a paper published in: WIMS '11: Proceedings of the International Conference on Web Intelligence, Mining and Semantics, ACM, 2011. 25 DOI: http://dx.doi.org/10.1145/1988688.1988718 Copyright: © 2011 ACM El acceso a la versión del editor puede requerir la suscripción del recurso Access to the published version may require subscription A Study on the Impact of Crowd-Based Voting Schemes in the ’Eurovision’ European Contest ∗ Gema Bello Orgaz, Raul Cajias and David Camacho Computer Science Department Escuela Politécnica Superior Universidad Autónoma de Madrid Madrid, Spain {gema.bello, raul.cajias, david.camacho}@uam.es ABSTRACT Categories and Subject Descriptors The Eurovision contest has been the reference on european H.3.3 [Information Systems]: Information Storage and song contests for the past 50 years. Countries in the Euro- Retrieval|Information Search and Retrieval, Clustering pean Union can shows the rest of the participants their cur- rent music tendencies. This phenomena has been studied in General Terms domains like physic and social sciences to find correlations CPM, Edge Betweenness, Data Mining, Eurovision, Televot- between contests and current political and socio-economy ing, Voting Partnership trends in EU. The inclusion of web and social technologies some years ago, have caused a disruption in the traditional voting system whereby the audience is encouraged to par- Keywords ticipate by casting votes for their favorite song. As a result, Graph Based Algorithms, Network, Web Mining, Social Min- this system yields new, relevant information that may be ex- ing trapolated to social and political tendencies in Europe with a higher degree accuracy than by data collected using the 1.
    [Show full text]
  • Television Advertising Insights
    Lockdown Highlight Tous en cuisine, M6 (France) Foreword We are delighted to present you this 27th edition of trends and to the forecasts for the years to come. TV Key Facts. All this information and more can be found on our This edition collates insights and statistics from dedi cated TV Key Facts platform www.tvkeyfacts.com. experts throughout the global Total Video industry. Use the link below to start your journey into the In this unprecedented year, we have experienced media advertising landscape. more than ever how creative, unitive, and resilient Enjoy! / TV can be. We are particularly thankful to all participants and major industry players who agreed to share their vision of media and advertising’s future especially Editors-in-chief & Communications. during these chaotic times. Carine Jean-Jean Alongside this magazine, you get exclusive access to Coraline Sainte-Beuve our database that covers 26 countries worldwide. This country-by-country analysis comprises insights for both television and digital, which details both domestic and international channels on numerous platforms. Over the course of the magazine, we hope to inform you about the pandemic’s impact on the market, where the market is heading, media’s social and environmental responsibility and all the latest innovations. Allow us to be your guide to this year’s ACCESS OUR EXCLUSIVE DATABASE ON WWW.TVKEYFACTS.COM WITH YOUR PERSONAL ACTIVATION CODE 26 countries covered. Television & Digital insights: consumption, content, adspend. Australia, Austria, Belgium, Brazil, Canada, China, Croatia, Denmark, France, Finland, Germany, Hungary, India, Italy, Ireland, Japan, Luxembourg, The Netherlands, Norway, Poland, Russia, Spain, Sweden, Switzerland, UK and the US.
    [Show full text]
  • 467384274-Virtual-Salute-To-Graduates-2020.Pdf
    THE CITY COLLEGE OF NEW YORK VIRTUAL SALUTE TO GRADUATES JUNE 30, 2020 THE CITY UNIVERSITY OF NEW YORK VIRTUAL SALUTE 2020 | 1 PRESIDENT’S MESSAGE Dear CCNY Graduates of the Class of 2020, There are moments in our history that impress an indelible mark upon us, when we are called to do extraordinary things under the press of an indescribable moment. Anyone graduating in the midst of the COVID19 pandemic will be marked by this extraordinary moment. But even among that national class graduating in 2020, you are different. At a time when the inequitable imprint of this scourge underscores the other inequities in our society, the City College—and those who work study and graduate from it—stand apart. You graduate from an institution established to redress inequality, an institution that each generation has the responsibility of scanning the social and Vince Boudreau political landscape, and setting its sights on rectifying that which sits most uneasily in President the light of that responsibility. It has been over fifty years since we have faced the kinds of challenges we face today to our democracy, to the fabric of our society, and to the health and security of our people. As an institution, we were made for this moment. As graduates of CCNY, you now shoulder the responsibility of giving voice to your vision of that just society, a vision we have worked to develop and instill in you all the days of your work with us. You have struggled, sometimes mightily and against long odds, to reach this day, and we beam with pride at your accomplishment.
    [Show full text]
  • Quick Guide to the Eurovision Song Contest 2018
    The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV.
    [Show full text]
  • Reflections 3 Reflections
    3 Refl ections DAS MAGAZIN DES ÖSTERREICHISCHEN Refl ections SONG CONTEST CLUBS AUSGABE 2019/2020 AUSGABE | TAUSEND FENSTER Der tschechische Sänger Karel Gott („Und samkeit in der großen Stadt beim Eurovision diese Biene, die ich meine, die heißt Maja …“) Song Contest 1968 in der Royal Albert Hall wurde vor allem durch seine vom böhmischen mit nur 2 Punkten den bescheidenen drei- SONG CONTEST CLUBS Timbre gekennzeichneten, deutschsprachigen zehnten Platz, fi ndet aber bis heute großen Schlager in den 1970er und 1980er Jahren zum Anklang innerhalb der ESC-Fangemeinde. Liebling der Freunde eingängiger U-Musik. Neben der deutschen Version, nahm Karel Copyright: Martin Krachler Ganz zu Beginn seiner Karriere wurde er Gott noch eine tschechische Version und zwei ÖSTERREICHISCHEN vom Österreichischen Rundfunk eingela- englische Versionen auf. den, die Alpenrepublik mit der Udo Jürgens- Hier seht ihr die spanische Ausgabe von „Tau- DUNCAN LAURENCE Komposition „Tausend Fenster“ zu vertreten. send Fenster“, das dort auf Deutsch veröff ent- Zwar erreichte der Schlager über die Ein- licht wurde. MAGAZINDAS DES Der fünfte Sieg für die Niederlande DIE LETZTE SEITE | ections Refl AUSGABE 2019/2020 2 Refl ections 4 Refl ections 99 Refl ections 6 Refl ections IMPRESSUM MARKUS TRITREMMEL MICHAEL STANGL Clubleitung, Generalversammlung, Organisation Clubtreff en, Newsletter, Vorstandssitzung, Newsletter, Tickets Eurovision Song Contest Inlandskorrespondenz, Audioarchiv [email protected] Fichtestraße 77/18 | 8020 Graz MARTIN HUBER [email protected]
    [Show full text]
  • Spotlight on the French Riviera February 19 – 27, 2022
    University of South Alabama Alumni presents… Spotlight on the French Riviera February 19 – 27, 2022 For more information contact Collette 800-581-8942 refer to booking #1059059 Day 1: Saturday, February 19, 2022 Overnight Flight It’s time to live the good life and embark on a getaway to the fabulous French Riviera, or Côte d'Azur. With its elegant coastal resorts, superb eateries, chic boutiques and captivating museums, it’s the ultimate sunny retreat for the elite. Unpack your bags just once and stay at a single hotel for your entire adventure which begins with an overnight flight to France. Day 2: Sunday, February 20, 2022 Nice (French Riviera), France - Tour Begins Your tour commences in the stunning city of Nice, a coastal pearl of the Mediterranean known for its legendary opulence and balmy beaches. With an average of 300 sunny days per year, Nice is a seaside paradise. This evening, join your fellow travelers for a welcome dinner featuring delightful French cuisine artfully presented. (D) Day 3: Monday, February 21, 2022 Nice - St. Paul de Vence - Nice Get to know Nice with a local expert, sampling different treats while on a tasting tour of the city. After sampling favorite flavors, continue on to historic St. Paul de Vence, situated atop a hill overlooking the beautiful countryside. Explore this walled medieval village, soaking in its distinctive light said to have inspired Matisse, Braque, Chagall and other artists. End your day back in Nice for an evening at leisure. Perhaps you will take a stroll along the lively seafront Promenade des Anglais or visit Place Massena, the town’s 9 Days ● 11 Meals: 7 Breakfasts, 1 Lunch, 3 Dinners center of activity.
    [Show full text]
  • English Song Booklet
    English Song Booklet SONG NUMBER SONG TITLE SINGER SONG NUMBER SONG TITLE SINGER 100002 1 & 1 BEYONCE 100003 10 SECONDS JAZMINE SULLIVAN 100007 18 INCHES LAUREN ALAINA 100008 19 AND CRAZY BOMSHEL 100012 2 IN THE MORNING 100013 2 REASONS TREY SONGZ,TI 100014 2 UNLIMITED NO LIMIT 100015 2012 IT AIN'T THE END JAY SEAN,NICKI MINAJ 100017 2012PRADA ENGLISH DJ 100018 21 GUNS GREEN DAY 100019 21 QUESTIONS 5 CENT 100021 21ST CENTURY BREAKDOWN GREEN DAY 100022 21ST CENTURY GIRL WILLOW SMITH 100023 22 (ORIGINAL) TAYLOR SWIFT 100027 25 MINUTES 100028 2PAC CALIFORNIA LOVE 100030 3 WAY LADY GAGA 100031 365 DAYS ZZ WARD 100033 3AM MATCHBOX 2 100035 4 MINUTES MADONNA,JUSTIN TIMBERLAKE 100034 4 MINUTES(LIVE) MADONNA 100036 4 MY TOWN LIL WAYNE,DRAKE 100037 40 DAYS BLESSTHEFALL 100038 455 ROCKET KATHY MATTEA 100039 4EVER THE VERONICAS 100040 4H55 (REMIX) LYNDA TRANG DAI 100043 4TH OF JULY KELIS 100042 4TH OF JULY BRIAN MCKNIGHT 100041 4TH OF JULY FIREWORKS KELIS 100044 5 O'CLOCK T PAIN 100046 50 WAYS TO SAY GOODBYE TRAIN 100045 50 WAYS TO SAY GOODBYE TRAIN 100047 6 FOOT 7 FOOT LIL WAYNE 100048 7 DAYS CRAIG DAVID 100049 7 THINGS MILEY CYRUS 100050 9 PIECE RICK ROSS,LIL WAYNE 100051 93 MILLION MILES JASON MRAZ 100052 A BABY CHANGES EVERYTHING FAITH HILL 100053 A BEAUTIFUL LIE 3 SECONDS TO MARS 100054 A DIFFERENT CORNER GEORGE MICHAEL 100055 A DIFFERENT SIDE OF ME ALLSTAR WEEKEND 100056 A FACE LIKE THAT PET SHOP BOYS 100057 A HOLLY JOLLY CHRISTMAS LADY ANTEBELLUM 500164 A KIND OF HUSH HERMAN'S HERMITS 500165 A KISS IS A TERRIBLE THING (TO WASTE) MEAT LOAF 500166 A KISS TO BUILD A DREAM ON LOUIS ARMSTRONG 100058 A KISS WITH A FIST FLORENCE 100059 A LIGHT THAT NEVER COMES LINKIN PARK 500167 A LITTLE BIT LONGER JONAS BROTHERS 500168 A LITTLE BIT ME, A LITTLE BIT YOU THE MONKEES 500170 A LITTLE BIT MORE DR.
    [Show full text]
  • Gender and Geopolitics in the Eurovision Song Contest Introduction
    Gender and Geopolitics in the Eurovision Song Contest Introduction Catherine Baker Lecturer, University of Hull [email protected] http://www.suedosteuropa.uni-graz.at/cse/en/baker Contemporary Southeastern Europe, 2015, 2(1), 74-93 Contemporary Southeastern Europe is an online, peer-reviewed, multidisciplinary journal that publishes original, scholarly, and policy-oriented research on issues relevant to societies in Southeastern Europe. For more information, please contact us at [email protected] or visit our website at www.contemporarysee.org Introduction: Gender and Geopolitics in the Eurovision Song Contest Catherine Baker* Introduction From the vantage point of the early 1990s, when the end of the Cold War not only inspired the discourses of many Eurovision performances but created opportunities for the map of Eurovision participation itself to significantly expand in a short space of time, neither the scale of the contemporary Eurovision Song Contest (ESC) nor the extent to which a field of “Eurovision research” has developed in cultural studies and its related disciplines would have been recognisable. In 1993, when former Warsaw Pact states began to participate in Eurovision for the first time and Yugoslav successor states started to compete in their own right, the contest remained a one-night-per- year theatrical presentation staged in venues that accommodated, at most, a couple of thousand spectators and with points awarded by expert juries from each participating country. Between 1998 and 2004, Eurovision’s organisers, the European Broadcasting Union (EBU), and the national broadcasters responsible for hosting each edition of the contest expanded it into an ever grander spectacle: hosted in arenas before live audiences of 10,000 or more, with (from 2004) a semi-final system enabling every eligible country and broadcaster to participate each year, and with (between 1998 and 2008) points awarded almost entirely on the basis of telephone voting by audiences in each participating state.
    [Show full text]
  • REFLECTIONS 148X210 UNTOPABLE.Indd 1 20.03.15 10:21 54 Refl Ections 54 Refl Ections 55 Refl Ections 55 Refl Ections
    3 Refl ections DAS MAGAZIN DES ÖSTERREICHISCHEN Refl ections SONG CONTEST CLUBS MERCI CHÉRIE – MERCI, JURY! AUSGABE 2015 | ➝ Es war der 5. März 1966 beim Grand und belgischen Hitparade und Platz 14 in Prix d’Eurovision in Luxemburg als schier den Niederlanden. Im Juni 1966 erreichte Unglaubliches geschah: Die vielbeachte- das Lied – diesmal in Englisch von Vince te dritte Teilnahme von Udo Jürgens – Hill interpretiert – Platz 36 der britischen nachdem er 1964 mit „Warum nur war- Single-Charts. um?“ den sechsten Platz und 1965 mit Im Laufe der Jahre folgten unzähli- SONG CONTEST CLUBS SONG CONTEST 2015 „Sag‘ ihr, ich lass sie grüßen“ den vierten ge Coverversionen in verschiedensten Platz belegte – bescherte Österreich end- Sprachen und als Instrumentalfassungen. Wien gibt sich die Ehre lich den langersehnten Sieg. In einem Hier bestechen – allen voran die aktuelle Teilnehmerfeld von 18 Ländern startete Interpretation der grandiosen Helene Fi- der Kärntner mit Nummer 9 und konnte scher – die Versionen von Adoro, Gunnar ÖSTERREICHISCHEN schließlich 31 Jurypunkte auf sich verei- Wiklund, Ricky King und vom Orchester AUSSERDEM nen. Ein klarer Sieg vor Schweden und Paul Mauriat. Teilnehmer des Song Contest 2015 – Rückblick Grand Prix 1967 in Wien Norwegen, die sich am Podest wiederfan- Hier sieht man das aus Brasilien stam- – Vorentscheidung in Österreich – Das Jahr der Wurst – Österreich und den. mende Plattencover von „Merci Cherie“, DAS MAGAZIN DES der ESC – u.v.m. Die Single erreichte Platz 2 der heimi- das zu den absoluten Raritäten jeder Plat- schen Single-Charts, Platz 2 der deutschen tensammlung zählt. DIE LETZTE SEITE ections | Refl AUSGABE 2015 2 Refl ections 2 Refl ections 3 Refl ections 3 Refl ections INHALT VORWORT PRÄSIDENT 4 DAS JAHR DER WURST 18 GRAND PRIX D'EUROVISION 60 HERZLICH WILLKOMMEN 80 „Building bridges“ – Ein Lied Pop, Politik, Paris.
    [Show full text]
  • Brochure-Commission-BD
    www.filmcotedazur.com COMMISSION DU FILM - CÔTE D’AZUR 2 COMMISSION DU FILM - CÔTE D’AZUR ICONIC CÔTE D’AZUR The Côte d’Azur offers an idyllic setting, the sweetness of its winters, the beauty of the Mediterranean and its capes, its remarkable landscapes and light are iconic assets known all over the world. Thanks to an experienced cinema and audiovisual industry in constant development as well as the loyal commitment of its city members, and the support of the production public funds, the Côte d’Azur is recognized as a welcoming land iconic for filming. All scenarios are possible on the French Riviera : Cover picture : Villa Maria Serena à Menton beaches (fine sand or pebbles), ports, large typi- © photo : Ville de Menton cal towns, middle age Provencal villages, modern or Writing : traditional winter sports resorts, lunar plateaus, red Commission du Film rock canyons, local markets... Layout : Snap-Crea Printing company : CIAIS Reproduction (even partial) of text and illustrations is forbidden. www.filmcotedazur.com GMT production - France 3 © photo : Jean Louis Paris COMMISSION DU FILM - CÔTE D’AZUR © photo : Adastra Films www.filmcotedazur.com THE FILM COMMISSION ...........................................................................p8 LOCATIONS .........................................................................p10 STUDIOS .........................................................................p42 HUMAN AND TECNICAL RESSSOURCES SUMMARY .........................................................................p46 PUBLIC FUNDS
    [Show full text]