Quinn and Cantara’ and the Voice of the Morning Rush
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The Case for Reconnecting Southeast Washington DC
1 Reimagining DC 295 as a vital multi modal corridor: The Case for Reconnecting Southeast Washington DC Jonathan L. Bush A capstone thesis paper submitted to the Executive Director of the Urban & Regional Planning Program at Georgetown University’s School of Continuing Studies in partial fulfillment of the requirements for Masters of Professional Studies in Urban & Regional Planning. Faculty Advisor: Howard Ways, AICP Academic Advisor: Uwe S. Brandes, M.Arch © Copyright 2017 by Jonathan L. Bush All Rights Reserved 2 ABSTRACT Cities across the globe are making the case for highway removal. Highway removal provides alternative land uses, reconnects citizens and natural landscapes separated by the highway, creates mobility options, and serves as a health equity tool. This Capstone studies DC 295 in Washington, DC and examines the cases of San Francisco’s Embarcadero Freeway, Milwaukee’s Park East Freeway, New York City’s Sheridan Expressway and Seoul, South Korea’s Cheonggyecheon Highway. This study traces the history and the highway removal success using archival sources, news circulars, planning documents, and relevant academic research. This Capstone seeks to provide a platform in favor DC 295 highway removal. 3 KEYWORDS Anacostia, Anacostia Freeway, Anacostia River, DC 295, Highway Removal, I-295, Kenilworth Avenue, Neighborhood Planning, Southeast Washington DC, Transportation Planning, Urban Infrastructure RESEARCH QUESTIONS o How can Washington’s DC 295 infrastructure be modified to better serve local neighborhoods? o What opportunities -
Toni Braxton Announces North American Fall Tour
FOR IMMEDIATE RELEASE TONI BRAXTON ANNOUNCES NORTH AMERICAN FALL TOUR Detroit (August 8, 2016) – Seven-time GRAMMY Award-winning singer, songwriter and actress Toni Braxton announces her North American tour. Kicking off on Saturday, October 8 in Oakland, Braxton will tour more than 20 cities, ending with a show in Atlantic City, NJ on Saturday, November 12. Most recently, Braxton released “Love, Marriage & Divorce,” a duets album with Kenny “Babyface” Edmonds. The album took off behind “Hurt You,” the Urban AC #1 duet hit co-written by Toni Braxton & Babyface (with Daryl Simmons and Antonio Dixon), and produced by Babyface. The two also shared the win for Best R&B Album at the 2015 GRAMMY Awards. Today, with over 67 million in sales worldwide and seven GRAMMY Awards, Braxton is recognized as one of the most outstanding voices of this generation. Her distinctive sultry vocal blend of R&B, pop, jazz and gospel became an instantaneous international sensation when she came forth with her first solo recording in 1992. Braxton stormed the charts in the 90’s with the releases of “Toni Braxton” and “Secrets,” which spawned the hit singles and instant classics; “Another Sad Love Song,” “Breathe Again,” “You’re Makin’ Me High,” and “Unbreak My Heart.” Today, Braxton balances the demands of her career with the high priorities of family, health and public service as she raises her two sons Denim and Diezel. This year Toni was the Executive Producer of the highly-rated Lifetime movie “Unbreak My Heart” which was based on her memoir and she is the star of the WEtv hit reality series Braxton Family Values in its fifth season. -
“Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
“UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights. -
Elite Music Productions This Music Guide Represents the Most Requested Songs at Weddings and Parties
Elite Music Productions This Music Guide represents the most requested songs at Weddings and Parties. Please circle songs you like and cross out the ones you don’t. You can also write-in additional requests on the back page! WEDDING SONGS ALL TIME PARTY FAVORITES CEREMONY MUSIC CELEBRATION THE TWIST HERE COMES THE BRIDE WE’RE HAVIN’ A PARTY SHOUT GOOD FEELIN’ HOLIDAY THE WEDDING MARCH IN THE MOOD YMCA FATHER OF THE BRIDE OLD TIME ROCK N ROLL BACK IN TIME INTRODUCTION MUSIC IT TAKES TWO STAYIN ALIVE ST. ELMOS FIRE, A NIGHT TO REMEMBER, RUNAROUND SUE MEN IN BLACK WHAT I LIKE ABOUT YOU RAPPERS DELIGHT GET READY FOR THIS, HERE COMES THE BRIDE BROWN EYED GIRL MAMBO #5 (DISCO VERSION), ROCKY THEME, LOVE & GETTIN’ JIGGY WITH IT LIVIN, LA VIDA LOCA MARRIAGE, JEFFERSONS THEME, BANG BANG EVERYBODY DANCE NOW WE LIKE TO PARTY OH WHAT A NIGHT HOT IN HERE BRIDE WITH FATHER DADDY’S LITTLE GIRL, I LOVED HER FIRST, DADDY’S HANDS, FATHER’S EYES, BUTTERFLY GROUP DANCES KISSES, HAVE I TOLD YOU LATELY, HERO, I’LL ALWAYS LOVE YOU, IF I COULD WRITE A SONG, CHICKEN DANCE ALLEY CAT CONGA LINE ELECTRIC SLIDE MORE, ONE IN A MILLION, THROUGH THE HANDS UP HOKEY POKEY YEARS, TIME IN A BOTTLE, UNFORGETTABLE, NEW YORK NEW YORK WALTZ WIND BENEATH MY WINGS, YOU LIGHT UP MY TANGO YMCA LIFE, YOU’RE THE INSPIRATION LINDY MAMBO #5BAD GROOM WITH MOTHER CUPID SHUFFLE STROLL YOU RAISE ME UP, TIMES OF MY LIFE, SPECIAL DOLLAR WINE DANCE MACERENA ANGEL, HOLDING BACK THE YEARS, YOU AND CHA CHA SLIDE COTTON EYED JOE ME AGAINST THE WORLD, CLOSE TO YOU, MR. -
Jeff Smith Head of Music, BBC Radio 2 and 6 Music Media Masters – August 16, 2018 Listen to the Podcast Online, Visit
Jeff Smith Head of Music, BBC Radio 2 and 6 Music Media Masters – August 16, 2018 Listen to the podcast online, visit www.mediamasters.fm Welcome to Media Masters, a series of one to one interviews with people at the top of the media game. Today, I’m here in the studios of BBC 6 Music and joined by Jeff Smith, the man who has chosen the tracks that we’ve been listening to on the radio for years. Now head of music for BBC Radio 2 and BBC Radio 6 Music, Jeff spent most of his career in music. Previously he was head of music for Radio 1 in the late 90s, and has since worked at Capital FM and Napster. In his current role, he is tasked with shaping music policy for two of the BBC’s most popular radio stations, as the technology of how we listen to music is transforming. Jeff, thank you for joining me. Pleasure. Jeff, Radio 2 has a phenomenal 15 million listeners. How do you ensure that the music selection appeals to such a vast audience? It’s a challenge, obviously, to keep that appeal across the board with those listeners, but it appears to be working. As you say, we’re attracting 15.4 million listeners every week, and I think it’s because I try to keep a balance of the best of the best new music, with classic tracks from a whole range of eras, way back to the 60s and 70s. So I think it’s that challenge of just making that mix work and making it work in terms of daytime, and not only just keeping a kind of core audience happy, but appealing to a new audience who would find that exciting and fun to listen to. -
BRUCE THOMAS PUMPS IT up with ELVIS COSTELLO by Dan Forte Guitar Player March 1987
BRUCE THOMAS PUMPS IT UP WITH ELVIS COSTELLO by Dan Forte Guitar Player March 1987 EVERYTHING ABOUT ELVIS Costello -his intelligent and prolific songwriting, impassioned singing, horn-rimmed visual image, ever-changing stylistic jaunts,even his anti-hero guitar playing -is so all-pervasive that his trio of sidemen, the Attractions, seems all but anonymous. (A magazine that just named Costello artist.of the year for 1986 only three years earlier misidentified the members of the Attractions in a photo caption.) But if Elvis is to be commended for his stylistic daring, the Attractions deserve equal praise for their ability to follow him down every idiomatic path, with their original fire and indelible individualism intact. Of all of Costello's talents, perhaps his strongest suit is as bandleader - not only for keeping a group together for a decade, but for choosing the musicians he did to make up his backing band. The Attractions have been together since 1977, in which time they've recorded 11 albums (plus a Best Of collection) since Elvis' debut, My Aim Is True. And night after night they have proved that at least one band (coincidentally virtually the only surviving band) from England’s punk era can play and always could. After recording his auspicious debut with uncredited backing from the American band Clover (including guitarist John McFee, currently with Southern Pacific), Declan "Elvis Costello" MacManus settled on piamst Steve Nieve, drummer Pete Thomas, and (no relation) bassist Bruce Thomas, after aluditioning, in the bassist's, words "hundreds of guys who couldn't tune up or put the guitar on right." The group's first effort, This Year's Model, not only squelched any fears of a,sophomore jinx; it kicked in with more muscle than Aim and signaled the arrival of a distinct new collective musical personality. -
RPTF: Caucus on Spanish Language and Bilingual Radio
1 LIBRARY OF CONGRESS + + + + + RADIO PRESERVATION TASK FORCE + + + + + SAVING AMERICA'S RADIO HERITAGE: RADIO PRESERVATION, ACCESS, AND EDUCATION + + + + + SESSION: CAUCUS ON SPANISH LANGUAGE AND BILINGUAL RADIO + + + + + SATURDAY FEBRUARY 27, 2016 + + + + + The Caucus convened in the University of Maryland College Park Hornbake Library, Prange Lobby, 4130 Campus Drive, College Park, Maryland, at 1:30 p.m., Ines Casillas, Caucus Chair, presiding. CAUCUS MEMBERS INES CASILLAS, Caucus Chair; UC-Santa Barbara BILL CRAWFORD, Border Radio Research Institute CHRISTINE EHRICK, University of Louisville GENE FOWLER, Border Radio Research Institute KATHY FRANZ, Smithsonian Museum of American History JOSE LUIS ORTIZ GARZA, Universidad Panamericana SONIA ROBLES, Brenau University MONICA DE LA TORRE, Washington University NEAL R. GROSS COURT REPORTERS AND TRANSCRIBERS 1323 RHODE ISLAND AVE., N.W. (202) 234-4433 WASHINGTON, D.C. 20005-3701 www.nealrgross.com 2 P-R-O-C-E-E-D-I-N-G-S (1:42 p.m.) CHAIR CASILLAS: Thank you so much for coming. I'm Ines Casillas from UC Santa Barbara and someone who's been researching and writing about Spanish language radio, in the U.S. specifically, for the past five years. So I'm very excited about the possibility of this caucus. So what we're going to do, we're going to start with two of us who do more U.S.-based, kind of, Spanish language radio, work our way to two others who do more border-related, and then end up in Latin America, okay? So my research highlights how U.S. Spanish language radio across the 20th century has really capitalized, very lucratively, on the conversation around immigration. -
Removal of Absolute 80S & Planet Rock
Radio Multiplex Licence Variation Request Form This form should be used for any request to vary a local or national radio multiplex licence, e.g: • replacing one programme or data service with another • adding a programme or data service • removing a programme or data service • changing the Format description of a programme service • changing a programme service from stereo to mono • changing a programme service's bit-rate Please complete all relevant parts of this form. You should submit one form per multiplex licence, but you should complete as many versions of Part 3 of this form as required (one per change). Before completing this form, applicants are strongly advised to read our published guidance on radio multiplex licence variations, which can be found at: http://licensing.ofcom.org.uk/radio-broadcast- licensing/digital-radio/radio-mux-changes/ Part 1 – Details of multiplex licence Radio multiplex licence: DM01 National Commercial Licensee: Digital One Contact name: Glyn Jones Date of request: 4th April 2016 1 Part 2 – Summary of multiplex line-up before and after proposed change(s) Existing line-up of programme services Proposed line-up of programme services Service name and Bit-rate Stereo/ Service name and Bit-rate Stereo/ short-form description (kbps)/ Mono short-form (kbps)/ Mono Coding (H description Coding (H or F) or F) Absolute Radio 80F M Absolute Radio 80F M BFBS 80F M BFBS 80F M Capital XTRA 112F JS Capital XTRA 112F JS Classic FM 128F JS Classic FM 128F JS Heart extra 80F M Heart extra 80F M KISS 80F M KISS 80F M LBC 64H M LBC 64H M Magic UK 80F M Magic UK 80F M Radio X 80F M Radio X 80F M Smooth Extra 80F M Smooth Extra 80F M talkSPORT 64H M talkSPORT 64H M UCB 1 64H M UCB 1 64H M INRIX UK TPEG 16 Data INRIX UK TPEG 16 Data Absolute 80s 64H M Planet Rock 64H M Any additional information/notes: Part 3 – Details of proposed change For each proposed change you wish to make to your licence, please answer the following question and then complete the relevant sections of the rest of the application form. -
The ONE and ONLY Ivan
KATHERINE APPLEGATE The ONE AND ONLY Ivan illustrations by Patricia Castelao Dedication for Julia Epigraph It is never too late to be what you might have been. —George Eliot Glossary chest beat: repeated slapping of the chest with one or both hands in order to generate a loud sound (sometimes used by gorillas as a threat display to intimidate an opponent) domain: territory the Grunt: snorting, piglike noise made by gorilla parents to express annoyance me-ball: dried excrement thrown at observers 9,855 days (example): While gorillas in the wild typically gauge the passing of time based on seasons or food availability, Ivan has adopted a tally of days. (9,855 days is equal to twenty-seven years.) Not-Tag: stuffed toy gorilla silverback (also, less frequently, grayboss): an adult male over twelve years old with an area of silver hair on his back. The silverback is a figure of authority, responsible for protecting his family. slimy chimp (slang; offensive): a human (refers to sweat on hairless skin) vining: casual play (a reference to vine swinging) Contents Cover Title Page Dedication Epigraph Glossary hello names patience how I look the exit 8 big top mall and video arcade the littlest big top on earth gone artists shapes in clouds imagination the loneliest gorilla in the world tv the nature show stella stella’s trunk a plan bob wild picasso three visitors my visitors return sorry julia drawing bob bob and julia mack not sleepy the beetle change guessing jambo lucky arrival stella helps old news tricks introductions stella and ruby home -
Jazz and Radio in the United States: Mediation, Genre, and Patronage
Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition. -
Addition of Heart Extra to the Multiplex Is Therefore Likely to Increase Significantly the Appeal of Services on Digital One to This Demographic
Radio Multiplex Licence Variation Request Form This form should be used for any request to vary a local or national radio multiplex licence, e.g: • replacing one programme or data service with another • adding a programme or data service • removing a programme or data service • changing the Format description of a programme service • changing a programme service from stereo to mono • changing a programme service's bit-rate Please complete all relevant parts of this form. You should submit one form per multiplex licence, but you should complete as many versions of Part 3 of this form as required (one per change). Before completing this form, applicants are strongly advised to read our published guidance on radio multiplex licence variations, which can be found at: http://licensing.ofcom.org.uk/radio-broadcast- licensing/digital-radio/radio-mux-changes/ Part 1 – Details of multiplex licence Radio multiplex licence: DM01 National Commercial Licensee: Digital One Contact name: Glyn Jones Date of request: 15 January 2016 1 Part 2 – Summary of multiplex line-up before and after proposed change(s) Existing line-up of programme services Proposed line-up of programme services Service name and Bit-rate Stereo/ Service name and Bit-rate Stereo/ short-form description (kbps)/ Mono short-form (kbps)/ Mono Coding (H description Coding (H or F) or F) Absolute Radio 80F M Absolute Radio 80F M Absolute 80s 80F M Absolute 80s 80F M BFBS 80F M BFBS 80F M Capital XTRA 112F JS Capital XTRA 112F JS Classic FM 128F JS Classic FM 128F JS KISS 80F M KISS 80F -
"Down Where the South Begins": Virginia Radio and the Conversation of Nationhood
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 "Down Where the South Begins": Virginia Radio and the Conversation of Nationhood Caroline Chandler Morris College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, Mass Communication Commons, and the United States History Commons Recommended Citation Morris, Caroline Chandler, ""Down Where the South Begins": Virginia Radio and the Conversation of Nationhood" (2005). Dissertations, Theses, and Masters Projects. Paper 1539626488. https://dx.doi.org/doi:10.21220/s2-xqsn-1426 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. “DOWN WHERE THE SOUTH BEGINS” Virginia Radio and the Conversation of Nationhood A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Caroline Chandler Morris 2005 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts C/UfU^Yvt c ____ Caroline C. Morris Approved by the Committee, August 2005 Leisa D. Meyer/Chair Melvin P. Ely Laurie S. Koloski To John, Crickett, John, and