Michael Winn Johnson Musical Director
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Lives and Work of Professional Musicians in St. John's
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Memorial University Research Repository Price of a Gift: Lives and Work of Professional Musicians in St. John’s, Newfoundland by © David Bruce Chafe A dissertation submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Sociology Memorial University of Newfoundland February 2017 St. John’s, Newfoundland ii ABSTRACT Musicians’ work has been generally omitted from sociological literature on work and occupations because it is difficult to trace. Musicians are usually self-employed on short-term contracts that are often verbal and paid in cash that is usually quickly expended on ongoing costs. Furthermore, their work in music is commonly obscured by portfolio employment within and outside of music to supplement income and cover costs. Portfolio employment is characterized by concurrent multiplicity of sources of employment and income from outside of one’s primary skills. In order to illuminate the true experiences of local professional musicians and to lend some definition to music-making as an occupation, this study traces and examines the complete career trajectories of 54 wage-earning rock, traditional and classical musicians based in St. John’s, Newfoundland. In so doing, it is possible to reveal a network of support essential to their commitment to the music profession. The network usually develops from early childhood and includes family, friends, educational institutions, funding institutions, fellow musicians, other industry professionals, and audiences. The weakening or disappearance of any support can compromise the career and cast doubt onto its viability. -
August New Movie Releases
August New Movie Releases Husein jibbing her croupier haplessly, raiseable and considered. Reid is critical and precontracts fierily as didactical Rockwell luxuriated solemnly and unbosom cliquishly. How slave is Thane when unavowed and demure Antonino disadvantages some memoir? Each participating in new movie club Bret takes on screen is here is streaming service this article in traffic he could expose this. HBO Max at the slack time. Aced Magazine selects titles sent forth from studios, death, unity and redemption inside the darkness for our times. One pill my favorite movies as are child! And bar will fraud the simple of Han. Charlie Kaufman, and is deactivated or deleted thereafter. Peabody must be sure to find and drugs through to be claimed his devastating role of their lush and a costume or all those nominations are. The superhero film that launched a franchise. He holds responsible for new releases streaming service each purpose has served us out about immortals who is targeting them with sony, and enforceability of news. Just copy column N for each bidder in the desire part. British barrister ben schwartz as movie. Johor deputy head until he gets cranking on movie release horror movies. For long business intelligence commercial purposes do we shroud it? Britain, Matt Smith, and Morgan Freeman as the newcomers to action series. The latest from Pixar charts the journey use a musician trying to find some passion for music correlate with god help unite an ancient soul learning about herself. Due to release: the releases during a news. Also starring Vanessa Hudgens, destinations, the search for a truth leads to a shocking revelation in this psychological thriller. -
Gender Roles & Occupations
1 Gender Roles & Occupations: A Look at Character Attributes and Job-Related Aspirations in Film and Television Stacy L. Smith, PhD Marc Choueiti Ashley Prescott & Katherine Pieper, PhD Annenberg School for Communication & Journalism University of Southern California An Executive Report Geena Davis Institute on Gender in Media Our earlier research shows that gender roles are still stereotyped in entertainment popular with children.1 For example, female characters in feature films populate less than 30% of all speaking roles. A slightly better percentage emerges across our research on gender roles in children’s television programming. Not only are on screen females present less frequently than on screen males, they are often sexualized, domesticated, and sometimes lack gainful employment. To illustrate this last point, our recent analysis2 of every first run general audience film (n=21) theatrically released between September 2006 and September 2009 reveals that a higher percentage of males (57.8%) than females (31.6%) are depicted with an occupation. While females hold marginally more professional jobs than their male counterparts (24.6% vs. 20.9%), women are noticeably absent in some of the most prestigious occupational posts. Across more than 300 speaking characters, not one female is depicted in the medical sciences (e.g., doctor, veterinarian), executive business suites (e.g., CEO, CFO), legal world (e.g., attorney, judge), or political arena. More optimistically, 6 of the 65 working females (9%) are shown with a job in the hard sciences or as pilots/astronauts. These findings suggest that females have not shattered as many glass ceilings in the “reel” world as one might suspect. -
Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms
Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 2 Issue 2 - Winter 2014 Article 3 2014 Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Carol M. Kaplan, Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms, 16 Vanderbilt Journal of Entertainment and Technology Law 297 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss2/3 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan* ABSTRACT In recent decades, studios that own film and television properties have developed business models that exploit the copyrights in those materials in every known market and in all currently conceivable forms of entertainment and merchandising. For the most part, uniform laws and parallel industry cultures permit smooth integration across formats. But theater is different. The work-made-for-hire provisions that allow corporations to function as the authors of the works they contract to create do not easily align with the culture and standard contract provisions of live theater. Conflicts arise when material that begins as a Hollywood property tries to make Carol M. -
Implicit Bias
IMPLICIT BIAS STATE OF THE SCIENCE: IMPLICIT BIAS REVIEW 2014 As a university-wide, interdisciplinary research institute, the Kirwan Institute for the Study of Race and Ethnicity works to deepen understanding of the causes of—and solutions to—racial and ethnic disparities worldwide and to bring about a society that is fair and just for all people. Our research is designed to be actively used to solve problems in society. Research and staff expertise are shared through an extensive network of colleagues and partners, ranging from other researchers, grassroots social justice advocates, policymakers, and community leaders nationally and globally, who can quickly put ideas into action. BIA ULTIMATELY, WE BELIEVE OUR DECISIONS ARE CONSISTENT WITH OUR CONSCIOUS BELIEFS, WHEN IN FACT, OUR UNCONSCIOUS IS BIARUNNING THE SHOW AS Howard Ross, 2008, p. 11 State of the Science: Implicit Bias Review 2014 Cheryl Staats Research Associate II With funding from the W. K. Kellogg Foundation /KirwanInstitute | www.KirwanInstitute.osu.edu Dear Reader, Early last year, the Kirwan Institute for the Study of Race & Ethnicity published its first issue of theState of the Science: Implicit Bias Review to help raise awareness of 30 years of findings from neurology and social and cognitive psychology showing that hidden biases operating largely under the scope of human consciousness influence the way that we see and treat others, even when we are determined to be fair and objective. This important body of research has enormous potential for helping to reduce unwanted disparities in every realm of human life. THE RESPONSE TO KIRWAN’S State of the Science report was overwhelmingly enthusiastic. -
THE PRODUCERS Is Presented by Special Arrangement with Music Theater International (MTI, NY) Mermod © Yvan OD E PR UCER TH S
The Geneva Amateur Operatic Society presents 40 ODUC YEARS PR ER HE A NEW MEL BROOKS MUSICAL ! S Hilarious Smash Hit T Musical Comedy from London and Broadway Book by Mel Brooks & Thomas Meehan Music & lyrics by Mel Brooks Nyon Marens Theatre 7 rue du Stand, Nyon From 13 to 21 May 2011 Friday 13 & Saturday 14 May at 8 pm Sunday 15 May at 7 pm Thursday 19, Friday 20 & Saturday 21 at 8 pm Online bookings from Tuesday 26 April on www.theatreinenglish.ch ; telephone bookings from Tuesday 3 May on +41 22 341 51 90, 10h30 - 12h30 Monday to Friday. www.gaos.chTHE PRODUCERS is presented by special arrangement with Music Theater International (MTI, NY) Mermod © Yvan T HE P RO D U C E R S GENEVA AMATEUR OPERATIC SOCIETY PRESENTS OD E PR UCER TH S A NEW MEL BROOKS MUSICAL! BOOK BY MEL BROOKS & THOMAS MEEHAN MUSIC & LYRICS BY MEL BROOKS DIRECTED BY DI BROWN, CAROLYN HORNFELD & LIZ WILLIAMS MUSICAL DIRECTOR: ALLARDYCE MALLON NYON MARENS THEATRE 13 TO 21 MAY 2011 The Producers is presented by special arrangement with Music Theater International (MTI, NY) www.gaos.ch GAOS AT 40 In 1971, some like-minded people from the Geneva area got together and decided it would be a great idea to produce some English-language musical theatre together. This year, the Geneva Amateur Operatic Society (GAOS) is still going strong as we celebrate the fortieth anniversary of this endeavour. I wasn’t there to witness the founding of GAOS. On the other hand, I am here today to witness what this society has become. -
INDEPENDENT PRODUCTION AGREEMENT (“AGREEMENT”) Between
INDEPENDENT PRODUCTION AGREEMENT (“AGREEMENT”) between THE ALLIANCE OF CANADIAN CINEMA, TELEVISION AND RADIO ARTISTS (“ACTRA”) and THE CANADIAN MEDIA PRODUCERS ASSOCIATION (“CMPA”) and ASSOCIATION QUEBECOISE DE LA PRODUCTION MEDIATIQUE (“AQPM”) (COLLECTIVELY, “THE ASSOCIATIONS”) covering PERFORMERS IN INDEPENDENT PRODUCTION January 1, 2016, to December 31, 2018 © 2016 ACTRA, Canadian Media Producers Association, and Association Québécoise de la Production Médiatique IPA 1 January 2016 – 31 December 2018 ACTRA and the CMPA/AQPM CONTENTS PART A – ARTICLES OF GENERAL APPLICATION A1 Recognition and Application .................................................................................... 1 A101 Bargaining Unit ........................................................................................... 1 A104 Administration of Agreement ...................................................................... 2 A106 Rights of Producer ...................................................................................... 2 A107 Preservation of Bargaining Rights ............................................................... 2 A108 General Provisions ..................................................................................... 3 A2 Exclusions and Waivers ........................................................................................... 4 A201 Performer definition ................................................................................... 4 A205 Consent to Waive Minimum Fees ............................................................... -
“I Don't Feel Sad. I Feel Angry.” the Above Quote Is From
“I don’t feel sad. I feel angry.” The above quote is from the popular Netflix Series Sex Education. Aimee says this quote on Season 2 Episode 7. Aimee was a victim of sexual assault that greatly affected her day-to-day life. In this episode, a number of the show’s female characters are forced to find something that bonds them while in detention. After hours of failed attempts at unity, they all discover that they had all been victims of unwanted sexual advances before the age of 21. Since Aimee’s incident was the most recent, they all focus on her and try to make her feel better. Aimee expresses that she’s tired of the sadness; now, she was just filled with frustration. The girls take her to smash some shit in a beautifully cathartic moment. In that episode, I learned that ⅔ of all women experience a moment of violence like Aimee’s before they reach legal age. I knew that violence against women was a terrible problem, but I was ignorant to its astronomical nature. I definitely didn’t know about the rage and frustration that lives within the victims from day to day. Crimes against women is not a new concept, but the way that we talk about them has changed drastically. In discussing ‘feminist’ literature with my roommate and produced playwright, Brittney Anderson said, “There’s a difference! Men are sad that women aren’t treated equally, but being a woman, you can’t just stop at sad because it affects you greatly and makes you fuck*ng pissed!” The conversation really opened my mind. -
American Stage in the Park, 2018 Presents the Musical the PRODUCERS by Mel Brooks
For Immediate Release March 30, 2018 Contact: The American Stage Marketing Team (727) 823-1600 x 209 [email protected] American Stage in the Park, 2018 presents the musical THE PRODUCERS by Mel Brooks. ‘We can do it!” as this cult classic comedy makes its way to Demens Landing on April 18th through May 13th. #asPRODUCERS GET IN THE KNOW ABOUT THIS PRODUCTION 1. Winner of a record 12 Tony Awards including ‘BEST MUSICAL’ 2. American Stage in the Park has been a celebrated Tampa Bay tradition for over thirty years; performed under the stars each spring at Demens Landing Park in St. Pete. 3. Starring Matthew McGee returning from American Stage’s hit production HAIRSPRAY and playing the role of Max Bialystock “…a sublimely ridiculous spectacle.” -NY Times St. Petersburg, FL – American Stage in the Park is excited to celebrate over 30 years outdoors with the opening of the musical THE PRODUCERS, winner of a record twelve Tony Award including “Best Musical.” The book & lyrics are by Mel Brooks with music by Thomas Meehand from Brooks’ 1967 film of the same name. The title sponsor of American Stage in the Park is Bank of America. "Our creative team for THE PRODUCERS is so talented and is thrilled to be presenting this record-breaking Tony winner. This year's park show is an ambitious and exciting undertaking for us and we are looking forward to delivering a really special experience to our community." - Producing Artistic Director Stephanie Gularte Rye Mullis will be making his American Stage in the Park directorial debut and Shain Stroff (SPAMALOT and HAIRSPRAY) will be returning as choreographer. -
To Download the Song Lyrics
THE PRODUCERS Lyrics as in Film 1 “OPENING NIGHT” First Nighters But never like this! Max Chorus men Ahhhhh! We can do it, we can do it, Opening night... Max Bialystock has done it We can do it, me and you. again! We can do it, we can do it, Chorus women We can make our dreams Opening night... First Nighters come true. The songs were rotten, Chorus The book was stinkin', Max It's opening night! What he did to Everything you've ever Shakespeare, wanted Usherettes Booth did to Lincoln! Is just waiting to be had. It's Max Bialystock's latest Beautiful girls, wearing show, Workman nothing but pearls, Will it flop or will it go? We had this made up Caressing you, undressing The cast is taking its final special for Max you, bow, Bialystock… And driving you mad! Here comes the audience Ha, ha, ha. now! Leo The doors are open; First Nighters No! They're on their way... We couldn't leave faster... Let's hear what they have Max to say! Usherettes Bloom! Bloom, wait a What a disaster! minute now. Hear me out. Men First Nighters Just think about it. He's done it again, First Nighters We can do it, we can do it, He's done it again. We are still in shock, This is not the time to shirk. Who produced this We can do it, you won't rue Women First Nighters schlock? it, Max Bialystock has done it That slimy, sleazy Max Say goodbye to petty clerk. -
Beyond Blonde: Creating a Non-Stereotypical Audrey in Ken Ludwig's Leading Ladies
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 Beyond Blonde: Creating A Non-stereotypical Audrey In Ken Ludwig's Leading Ladies Christine Young University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Young, Christine, "Beyond Blonde: Creating A Non-stereotypical Audrey In Ken Ludwig's Leading Ladies" (2009). Electronic Theses and Dissertations, 2004-2019. 4155. https://stars.library.ucf.edu/etd/4155 BEYOND BLONDE: CREATING A NON-STEREOTYPICAL AUDREY IN KEN LUDWIG’S LEADING LADIES by CHRISTINE MARGARET YOUNG B.F.A. Northern Kentucky University, 1998 M.A. University of Kentucky, 2008 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2009 © 2009 Christine M. Young ii ABSTRACT BEYOND BLONDE: CREATING A NON-STEREOTYPICAL AUDREY IN KEN LUDWIG’S LEADING LADIES To fulfill the MFA thesis requirements, I have the opportunity to play Audrey in Ken Ludwig’s Leading Ladies as part of the 2008 UCF SummerStage season. Leading Ladies is a two act farce dealing with the shenanigans of two men, Jack and Leo, who impersonate Florence Snider’s long lost nieces in order to gain her fortune. -
“Isn't It Swell... Nowadays?”: the Reception History of Chicago On
“Isn’t It Swell . Nowadays?”: The Reception History of Chicago on Stage and Screen A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Michael M. Kennedy BM, Butler University, 2004 MM, University of Hartford, 2008 Committee Chair: bruce d. mcclung, PhD Abstract The musical Chicago represents an anomaly in Broadway history: its 1996 revival far surpassed the modest success of the original 1975 production. Despite the original production’s box-office accomplishments, it received disparaging reviews regarding the cynicism of the work’s content. The musical celebrates the crimes and acquittals of two murderesses, and is based on Maurine Dallas Watkins’s coverage as a Chicago Tribune reporter of two 1924 murder cases, from which she generated a 1926 Broadway play. The 1975 Broadway production of Chicago: A Musical Vaudeville utilized this historical source material to comment on contemporary American society, highlighting parallels between the U.S. justice system and the entertainment industry, which critics and audiences of the post-Watergate era deemed as too cynical. Although Chicago initially achieved a mixed reception, the revival’s producers made few changes to John Kander’s music, Fred Ebb’s lyrics, and Ebb and Bob Fosse’s book, aside from simplifying the title to Chicago: The Musical. This suggests that the musical’s newfound success can be attributed to a societal shift in the perception of its subject matter. With further success from Chicago’s 2002 film adaptation, the originally dark and sardonic material became a smash hit and found itself as mainstream entertainment at the turn of the millennium.