Judih Haggai
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
P E R F O R M I N G
PERFORMING & Entertainment 2019 BOOK CATALOG Including Rowman & Littlefield and Imprints of Globe Pequot CONTENTS Performing Arts & Entertainment Catalog 2019 FILM & THEATER 1 1 Featured Titles 13 Biography 28 Reference 52 Drama 76 History & Criticism 82 General MUSIC 92 92 Featured Titles 106 Biography 124 History & Criticism 132 General 174 Order Form How to Order (Inside Back Cover) Film and Theater / FEATURED TITLES FORTHCOMING ACTION ACTION A Primer on Playing Action for Actors By Hugh O’Gorman ACTION ACTION Acting Is Action addresses one of the essential components of acting, Playing Action. The book is divided into two parts: A Primer on Playing Action for Actors “Context” and “Practice.” The Context section provides a thorough examination of the theory behind the core elements of Playing Action. The Practice section provides a step-by-step rehearsal guide for actors to integrate Playing Action into their By Hugh O’Gorman preparation process. Acting Is Action is a place to begin for actors: a foundation, a ground plan for how to get started and how to build the core of a performance. More precisely, it provides a practical guide for actors, directors, and teachers in the technique of Playing Action, and it addresses a niche void in the world of actor training by illuminating what exactly to do in the moment-to-moment act of the acting task. March, 2020 • Art/Performance • 184 pages • 6 x 9 • CQ: TK • 978-1-4950-9749-2 • $24.95 • Paper APPLAUSE NEW BOLLYWOOD FAQ All That’s Left to Know About the Greatest Film Story Never Told By Piyush Roy Bollywood FAQ provides a thrilling, entertaining, and intellectually stimulating joy ride into the vibrant, colorful, and multi- emotional universe of the world’s most prolific (over 30 000 film titles) and most-watched film industry (at 3 billion-plus ticket sales). -
Will Ticket Scalpers Meet the Same Fate As Spinal Tap Drummers? the Sale and Resale of Concert and Sports Tickets
Pepperdine Law Review Volume 42 Issue 1 Article 1 12-15-2014 Will Ticket Scalpers Meet the Same Fate As Spinal Tap Drummers? The Sale and Resale of Concert and Sports Tickets Gregory M. Stein Follow this and additional works at: https://digitalcommons.pepperdine.edu/plr Part of the Contracts Commons, and the Entertainment, Arts, and Sports Law Commons Recommended Citation Gregory M. Stein Will Ticket Scalpers Meet the Same Fate As Spinal Tap Drummers? The Sale and Resale of Concert and Sports Tickets, 42 Pepp. L. Rev. 1 (2014) Available at: https://digitalcommons.pepperdine.edu/plr/vol42/iss1/1 This Article is brought to you for free and open access by the Caruso School of Law at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Law Review by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. Will Ticket Scalpers Meet the Same Fate As Spinal Tap Drummers? The Sale and Resale of Concert and Sports Tickets Gregory M. Stein* Abstract When a concert or sporting event sells out, the performer appears popular and the venue enjoys the opportunity to maximize profits from the sale of parking, merchandise, food, and beverages. For these and other reasons, event sponsors often underprice tickets. This underpricing creates commercial opportunities for ticket resellers, who purchase in bulk at the lower price and resell the tickets at a profit, and also for intermediaries such as StubHub. Legal and technological efforts to squelch ticket resales have largely failed, leaving the secondary ticket market stronger than ever. -
David Gans, De La Luz at Temple Ball, Carrboro, NC- 4/4 Paul Kerr 2004-04-19
David Gans, De La Luz at Temple Ball, Carrboro, NC- 4/4 Paul Kerr 2004-04-19 David Gans is a man of many talents. A musician since 1970, he quickly branched out Order Now! Save 45% into journalism and editing (man I hope I remember to spell-check this), and by the off the cover price! mid-‘80s was writing books on the Grateful Dead and Talking Heads. In 1988 he Dave Matthews and turned DJ and created the Grateful Dead Radio Hour, which he still hosts each week Emmylou Harris, Rob Barraco, Tom Marshall, on 80 radio stations across the country. Gans' extensive knowledge of the Dead's body The Festival Express, of work made him the perfect choice to co-produce their career-spanning So Many Gov't Mule, Chris Roads box set, and he's currently working on a box set of Jerry Garcia's solo work. Robinson, New Monsoon, The Bomb He's even credited with coaxing Phil Lesh out of retirement after Garcia's death with an Squad, and much, invitation to jam with his band, leading Phil eventually to form Phil Lesh & Friends. much more! much more! With a mind constantly reeling and reveling in music, it was only natural that by the mid-‘90s he was ready to start creating his own original music again, releasing his first Home album in 1997. He came through the De La Luz performance space inside the Temple Feature Articles Ball art gallery in Carrboro, NC for a night of solo acoustic originals and classic covers. -
Understanding ‗It': Affective Authenticity, Space, and the Phish
Understanding ‗It‘: Affective Authenticity, Space, and the Phish Scene By C2010 Elizabeth Anne Yeager Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson, Sherrie J. Tucker ________________________________ Ben Chappell ________________________________ Henry Bial ________________________________ Eric Weisbard ________________________________ Nicole Hodges Persley Date Defended: December 14, 2010 ii The Dissertation Committee for Elizabeth Anne Yeager certifies that this is the approved version of the following dissertation: Understanding ‗It‘: Affective Authenticity, Space, and the Phish Scene ________________________________ Chairperson, Sherrie J. Tucker Date approved: April 18, 2011 iii Abstract ―Understanding It: Affective Authenticity, Space, and the Phish Scene‖ is an ethnographic study of ―scene identity‖ around the contemporary rock band Phish. Utilizing data generated from six years of ethnographic fieldwork, including over one hundred and fifty interviews with Phish scene participants, this project explores how the production of space at Phish shows works to form a Phish scene identity. I contend that the identity of the Phish scene, what the band members and fans refer to as ―it‖ and I call a spatial articulation of affective authenticity, is produced and formed by scene members themselves, drawing from the interrelations between the production of space (practices that create a specific environment) at shows and a white, middle and upper-middle class cultural memory of the Grateful Dead scene. I situate this process amidst a cultural backdrop of 1980s and 1990s identity politics and in particular, multiculturalism and suggest that Phish scene identity be analyzed as a middle class performance of resistance that achieves community and meaning without resisting class privilege. -
Relix Has Teamed up with Kyle Hollingsworth and Sweetwater
HOP MAKING SENSE Hops lined up in the tasting room Testing the hops fresh out of the kiln to ensure they’ve been properly dried (note the swanky footwear) Zak Schroerlucke shows Beau Evers points out that when the off a fresh Amarillo hop bales of hops are stored away, the air temperature is recorded HOPMAKING SENSE Relix has teamed up with Kyle Hollingsworth and SweetWater Brewing Company for a different type of jam session, which will yield a new collaborative beer By DEAN BUDNICK OCTOBER_NOVEMBER 2017 | WWW.RELIX.COM | 35 Beer final.indd 35 9/28/17 10:10 PM HOP MAKING SENSE of direct sunlight.) Back in the that range in size from 20 to Panic, Trey Anastasio Band, mid-‘90s, I devoted most of 120 barrels.) Ween, moe., and dozens of my summer brewing efforts to I was fascinated by the other acts on multiple stages, wheat beer, which seemed to process through which Kyle as well as an official after-party be the ideal option for warmer and company created a beer on at Terminal West, headlined weather. This was long before such a scope, from ingredient by none other than the Kyle hefeweizens were quite so selection to pilot brewing and Hollingsworth Band. popular and easy to procure— final production. I wondered It’s safe to say, Kyle had the now, of course, with minimal what it would it be like to proper contact info. effort, you can locate a participate in such an endeavor So we set up a call with Belgian witbier and perhaps and eventually came to the head brewer Nick Nock and even a dunkelweizen or a realization that there are “Minister of Propaganda” weizenbock. -
Will Ticket Scalpers Meet the Same Fate As Spinal Tap Drummers? the Ales and Resale of Concert and Sports Tickets Gregory M
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Pepperdine Digital Commons Pepperdine Law Review Volume 42 | Issue 1 Article 1 12-15-2014 Will Ticket Scalpers Meet the Same Fate As Spinal Tap Drummers? The aleS and Resale of Concert and Sports Tickets Gregory M. Stein Follow this and additional works at: http://digitalcommons.pepperdine.edu/plr Part of the Contracts Commons, and the Entertainment and Sports Law Commons Recommended Citation Gregory M. Stein Will Ticket Scalpers Meet the Same Fate As Spinal Tap Drummers? The Sale and Resale of Concert and Sports Tickets, 42 Pepp. L. Rev. 1 (2014) Available at: http://digitalcommons.pepperdine.edu/plr/vol42/iss1/1 This Article is brought to you for free and open access by the School of Law at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Law Review by an authorized administrator of Pepperdine Digital Commons. For more information, please contact [email protected]. Will Ticket Scalpers Meet the Same Fate As Spinal Tap Drummers? The Sale and Resale of Concert and Sports Tickets Gregory M. Stein* Abstract When a concert or sporting event sells out, the performer appears popular and the venue enjoys the opportunity to maximize profits from the sale of parking, merchandise, food, and beverages. For these and other reasons, event sponsors often underprice tickets. This underpricing creates commercial opportunities for ticket resellers, who purchase in bulk at the lower price and resell the tickets at a profit, and also for intermediaries such as StubHub. -
Jamband Tape-Trading Culture
“When we’re finished with it, they can have it”: Jamband Tape-Trading Culture By Marc L. Whitman Monday, May 23, 2005 Advisor - Professor Travis A. Jackson Preceptor - Rebecca Reynolds Thesis submitted in partial fulfillment of the requirements for the degree of the Master of Arts Master of Arts Program in the Humanities University of Chicago Chicago, IL I. Origins of a Tape-Trading Network: The Legacy of the Grateful Dead The Grateful Dead informally allowed its audience members to record and trade “bootleg”1 copies of its concerts from the band’s inception in the late 1960s. But in October of 1984, the band announced a specific policy decision that not only formally permitted its audience members to record its concerts, but actually created a specific “taping section” for them to do so behind a venue’s soundboard (Pattacini, 2000:7). Steven Marcus, then manager of Grateful Dead Ticket Sales (GDTS, later re-formed for other bands as GDTS TOO) explains: The Taping Section was an idea that came of Dan Healy’s [soundman] constant complaints that the microphone stands were blocking his view of the stage. As manager and co- founder (with Danny Rifkin & Eddie Washington) of Grateful Dead Ticket Sales I suggested that there were usually about 100-200 seats directly behind the soundboard at every show that were never sold because they were “obstructed view.” I suggested that these tickets could be sold to tapers. Healy LOVED the idea and the “Taping Section” was formed. Grateful Dead was the first mainstream band to officially sanction taping of their shows. -
Theater of Jambands: Performance of Resistance
THEATER OF JAMBANDS: PERFORMANCE OF RESISTANCE by CHRISTINA L. ALLABACK A DISSERTATION Presented to the Department ofTheater Arts and the Graduate School ofthe University ofOregon in partial fulfillment ofthe requirements for the degree of Doctor ofPhilosophy June 2009 11 University of Oregon Graduate School Confirmation ofApproval and Acceptance ofDissertation prepared by: Christina Allaback Title: "Theatre ofJambands: Performance ofResistance" This dissertation has been accepted and approved in partial fulfillment ofthe requirements for the Doctor ofPhilosophy degree in the Department ofTheater Arts by: John Schmor, Chairperson, Theater Arts John Watson, Member, Theater Arts Theresa May, Member, Theater Arts Daniel Wojcik, Outside Member, English and Richard Linton, Vice President for Research and Graduate Studies/Dean ofthe Graduate School for the University of Oregon. June 13,2009 Original approval signatures are on file with the Graduate School and the University of Oregon Libraries. III © 2009 Christina L. Allaback IV An Abstract ofthe Dissertation of Christina L. Allaback for the degree of Doctor ofPhilosophy in the Department ofTheater Arts to be taken June 2009 Title: THEATER OF JAMBANDS: PERFORMANCE OF RESISTANCE Approved: _ Dr. John Schmor Jambands were born in the Haight-Ashbury district ofSan Francisco with the Grateful Dead, who dominated this musical geme until the mid-nineties. Jamband expert Dean Budnick coined the term shortly thereafter to describe bands that perform long, improvised jams during their live shows. As these improvised shows have increased in popularity, they have become great spectacles, featuring light shows, filmed images, dancing, storytelling, and short plays. While the performance happening inside the arena deserves study, there is an equally interesting performance that takes place in parking lots before and after the shows. -
Pte4a [Read Free] Suck and Blow: and Other Stories I'm Not Supposed to Tell Online
pte4a [Read free] Suck and Blow: And Other Stories I'm Not Supposed to Tell Online [pte4a.ebook] Suck and Blow: And Other Stories I'm Not Supposed to Tell Pdf Free John Popper, Dean Budnick ebooks | Download PDF | *ePub | DOC | audiobook Download Now Free Download Here Download eBook #415159 in Books 2016-04-05 2016-04-05Original language:EnglishPDF # 1 9.75 x 1.25 x 6.50l, .0 #File Name: 0306824043368 pages | File size: 65.Mb John Popper, Dean Budnick : Suck and Blow: And Other Stories I'm Not Supposed to Tell before purchasing it in order to gage whether or not it would be worth my time, and all praised Suck and Blow: And Other Stories I'm Not Supposed to Tell: 5 of 5 people found the following review helpful. and Popper's is fantastic. His honestyBy NashCI read a lot of music autobiographies, and Popper's is fantastic. His honesty, and self-deprecating sense of humor are laugh out loud funny, and he does a nice job imparting bits of wisdom to aspiring musicians which are based on his own life experience. If you grew up in the NJ suburbs during the 80's like Popper did, then you get a bonus because you will easily identify with his own experience going through high school and living just outside of NYC. Don't think twice, just order the book. You won't be able to put it down.2 of 2 people found the following review helpful. The Traveler Has Come...By B.RankGreat read. -
Souls Searching
January_February 2014 T Bone Burnett . Shonna Tucker . Les Claypool . Sharon Jones . moe. Free CDInside! relix Tedeschi Trucks Band Trucks Tedeschi Jonathan Wilson Anders Osborne Anders Jonathan Wilson The Gentle White Denim Spirit Returns Chris Robinson Brotherhood Chris Robinson Anders Osborne Improvising on Tradition moe. White Denim Shonna Tucker The Music Is the Message Hard Working Americans Working Hard Tunde Adebimpe Te d e s c hi Tr uc ks B and Souls Searching Golden Ears Chris Robinson Brotherhood Meet Their Match Issue 253 January_February 2014 $6.99 www.relix.com 49 TEDESCHI TRUCKS BAND S O U L S SEARCHING Derek Trucks and Susan Tedeschi turned heads when they both put their successful solo projects on hold to pursue the new, 11-person Tedeschi Trucks Band in the middle of an economic recession. Now, two studio albums and hundreds of dates later, their new family band has grown into much more than a short-term side-project. By DEAN BUDNICK Photo by MARK SELIGER JANUARY_FEBRUARY 2014 | WWW.RELIX.COM 50 | Tedeschi Trucks Band “ Nice.You can’t go wrong with Hendrix.” Derek Trucks shares his enthusiasm at the outset of an impromptu listening connection he had with Phil party on the second floor of Swamp Raga Studios. Nestled comfortably and [Bill] Kreutzmann—that trio especially—when you listen within a plush chair while his wife Susan Tedeschi settles in on an adjoining to the tapes, it’s like a band couch, the pair salute the selection of longtime crew member and studio within a band. When these engineer Bobby Tis, who carefully removes Axis: Bold As Love from its dust three guys lined up, it was like jacket and dutifully cleans the album. -
Fall 2020 PHIL 6150: History of Continental Philosophy: 'In a Minute
Fall 2020 ─ PHIL 6150: History of Continental Philosophy: ‘In a minute, I’ll be free’: Hegel, Phish, and the Beautiful Failure of Aesthetic Emancipation Course Director: Jim Vernon Email: [email protected] Office Hours: By appt. (and, sadly, on Zoom). Course Description: “[W]e must maintain that art’s vocation is to unveil the truth in the form of sensuous artistic configuration […] and so to have its end and aim in itself, in this very setting forth and unveiling. For other ends, like instruction, purification, bettering, financial gain, struggling for fame and honour, have nothing to do with the work of art as such, and do not determine its nature”, Hegel’s Aesthetics, 55. “We’re living among infinite possibilities, and the prevalent philosophies of postmodernist pessimism that come out of the universities are really a major tragedy [because t]he opportunities for progress and change of a positive nature are absolutely tremendous” ─ Robert Anton Wilson, speaking in Maybe Logic: The Lives and Ideas of Robert Anton Wilson (dir. L. Baucher, 2003). “Hopeless has exceptions”, banner flown over the Clifford Ball, Plattsburgh, NY, Aug. 16-17, 1996. “Welcome to the dream everybody” ─ Trey Anastasio, introducing the final ‘Gamehenge’ set, 7/8/1994, Great Woods, MA There may be no theory of art that lies further from current trends in both philosophical aesthetics and artistic practice than that of G.W.F. Hegel. The most influential aesthetic discourses since the 1950s ─ those that define what we might loosely call the ‘postmodern’ era ─ have in the main rejected the universal and positive accounts of human essence that defined Enlightenment modernity, as well as the progressive narratives of what humanity has accomplished and might yet achieve, replacing them with ‘critical’, or pessimistic, conceptions of world history, social institutions, and individual/collective capacity. -
The Sweet Tones of Toni Brown by Dean Budnick
The Sweet Tones of Toni Brown by Dean Budnick This is this month's installment in an ongoing series that you may have noticed I am putting together. One of the missions of the site is not only to introduce you to the bands, review the shows and give you tour dates but we're really trying to let you see what goes on in all phases of the scene, from booking shows (read my Andrew Stahl article) to helping publicize them (yet to come) to playing jam bands on the radio (again just wait...). This month, I continue the series with a Toni Brown interview. Toni, as I am sure you well know, is the publisher of Relix magazine. She's been involved with Relix for more than eighteen years now and she has a fine perspective on what's happening with this music. However Toni also brings a bit more to the table as she is currently gigging with her Toni Brown Band and is currently recording a follow-up to her debut disc (in which she enlisted the very fine David Nelson Band to join her in the studio). Here are Toni's thoughts on her own music, the jam band scene and a bit on running Relix... D- Let's start with the newest phase of your career. When did you start performing with your current band? What inspired you to come out from behind the desk and allow people to start writing about you? T- It seems like I've been doing Relix forever. It's been eighteen years.