OfcomOfcom Broadcast Preliminary and On Demand View Bulletin Published 17 September 2020 Britain’s Got Talent Type of case Broadcast Standards Outcome Not Pursued Service ITV Date & time 5 September 2020, 20:00 Category Protection of children/generally accepted standards/dangerous behaviour/due impartiality Summary This programme included a performance by the British dance group Diversity which represented the events of 2020, including the Coronavirus pandemic and global anti-racism protests. We concluded that the programme did not raise issues which warranted investigation under the Broadcasting Code. Ofcom received approximately 24,5001 complaints about the above programme. Complainants outlined a range of concerns about Diversity’s performance, including that the themes of violence and racism were inappropriate for family viewing, that it expressed support for the political organisation ‘Black Lives Matter’ and that it was racist towards White people. Ofcom also received a number of messages of support and praise for the performance. Ofcom has assessed this programme against the relevant rules in the Broadcasting Code (“the Code”). Our assessment is that this programme did not raise any issues which warranted investigation. In our view, Diversity’s performance was an artistic expression of topical social issues and did not contain any content which was racist, unsuitably violent or otherwise inappropriate in the context of this programme. Given the significant publicity surrounding this case and the high volume of complaints received, we have decided to publish our reasons for this assessment. 1 As of 09:00 on 17 September 2020. 1 Introduction Britain’s Got Talent is a talent programme broadcast on ITV, which aims to find a new act from the general public to perform at the annual Royal Variety Performance and win a prize of £250,000.
CENTRE STAGE THE PIPELINE OF BAME TALENT AndrewAndrew Lloyd Lloyd Webber Webber FoundationFoundation INTRODUCTION— hen I produced Bombay Dreams over a decade ago and was privileged Wto introduce the marvellous music of A R Rahman to a West End audience, one of our greatest difficulties was finding enough Asian actors. BAME diversity in the performing arts has once again been high on the agenda this year, from the runaway success of Hamilton on Broadway to the latest announcement from Arts Council England of £4.6 million to boost diversity. Very often the discussion is focussed on increasing the representation of diverse ethnicities on stage and this is crucially important. However, I’ve been acutely aware that one of the biggest issues is the lack of trained diverse talent coming through. Casting directors and theatre producers alike often complain that they’d like to cast more Black, Asian and Minority Ethnic performers but that they don’t get enough turning up to audition. Inspired by some of the success stories coming out of the Andrew Lloyd Webber Foundation’s scholarship programme – such as Emmanuel Kojo who is interviewed in these pages – the Foundation decided to commission this " I PASSIONATELY research. The aim was to come up with some positive recommendations that BELIEVE THAT can be adopted by people involved at every stage of the talent pipeline from THE STAGE NEEDS school to stage. TO REFLECT THE DIVERSITY OF THE UK I passionately believe that the stage needs to reflect the diversity of the POPULATION OR IT UK population or it risks becoming side-lined.
Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADERSHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely B.A., Western Kentucky University, 2003 M.A., Western Kentucky University, 2006 Submitted to the Graduate Faculty under the supervision of Gail F. Latta, Ph.D. in partial fulfillment of the requirements for the degree of Doctor of Education in Leadership Studies Xavier University Cincinnati, OH May 2017 Running head: GETTING TO “THE POINTE” Running head: GETTING TO “THE POINTE” GETTING TO “THE POINTE”: ASSESSING THE LIGHT AND DARK DIMENSIONS OF LEADESHIP ATTRIBUTES IN BALLET CULTURE Ashley Lauren Whitely Dissertation Advisor: Gail F. Latta, Ph.D. Abstract The focus of this ethnographic study is to examine the industry-wide culture of the American ballet. Two additional research questions guided the investigation: what attributes, and their light and dark dimensions, are valued among individuals selected for leadership roles within the culture, and how does the ballet industry nurture these attributes? An understanding of the culture was garnered through observations and interviews conducted in three classically-based professional ballet companies in the United States: one located in the Rocky Mountain region, one in the Midwestern region, and one in the Pacific Northwest region. Data analysis brought forth cultural and leadership themes revealing an industry consumed by “the ideal” to the point that members are willing to make sacrifices, both at the individual and organizational levels, for the pursuit of beauty. The ballet culture was found to expect its leaders to manifest the light dimensions of attributes valued by the culture, because these individuals are elevated to the extent that they “become the culture,” but they also allow these individuals to simultaneously exemplify the dark dimensions of these attributes.
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time.
DIVERSITY ACCELERATION PLAN REPORT 2021 WELCOME CAROLYN MCCALL, CEO ITV Welcome to our report. A year ago, we committed to increasing investment, including appointing a new Diversity & Inclusion team, in order to accelerate the speed of change and increase representation on-screen, in our production teams and within our own workforce. Attracting the best talent from a wide range of backgrounds, creating an inclusive culture where all colleagues can flourish, and making programmes that appeal to wide and diverse audiences are all hugely important priorities to our business. I feel incredibly proud to work for ITV and this has been an extraordinary year. I would like to acknowledge the passion and commitment ITV colleagues have displayed to drive this agenda forward and particularly the hard work of and the important role that our colleague Network Groups have played. Lockdown made things harder to deliver on many fronts including some elements of this plan and there are further steps to reach all our targets. There is no doubting our commitment – we are also committed to measuring our progress and reporting publicly each year because we know that we will rightly be judged by actions rather than words. 2 INTRODUCTION ADE RAWCLIFFE, GROUP DIRECTOR DIVERSITY AND INCLUSION, ITV As a senior leader at ITV I know how essential it is for us to use our position in society to shape Britain’s culture whilst reflecting who we are; it’s a position of privilege and responsibility. ITV has a duty to remain relevant, successful and profitable. As custodians of an organisation which millions of British people have a close relationship and affinity with, we understand the importance of ensuring that ITV consistently lives up to their expectations.
GOLDIE PDF, EPUB, EBOOK Ellen Miles | 78 pages | 15 Oct 2006 | Scholastic US | 9780439793797 | English | New York, United States Goldie PDF Book Student, 20, is found dead in his halls at Coventry University eight days after Cambridge academic's Putnam's Sons. From Wikipedia, the free encyclopedia. Goldie Hawn's son Oliver Hudson gets fans talking with latest photo of family home. Retrieved July 28, Retrieved August 31, His first studio album, Timeless , followed in Leo Freedman was born in London and raised in Canada, but his love affair with Southern California led him to invest his time and attention to the Arts scene in Orange County. We are all as perfect as we desire. In , he bought a country house in Bovingdon , Hertfordshire. Best Cast. Out and about: Goldie Hawn was focused on her fitness as she pedaled around the Pacific Palisades neighborhood of Los Angeles on Sunday afternoon. BBC Press Office. For a time, Goldie worked at the Try 1 shop in Walsall also selling gold teeth , then moved to London. Bill Hudson. Motion Pictures [78]. Listen to all your favourite artists on any device for free or try the Premium trial. Archived from the original on June 15, Just Eat - Takeaway deals. Even I don't know the rules: Police officer in charge of enforcing UK's coronavirus lockdown laws makes Retrieved 26 April The year-old actress rocked an all-black ensemble while soaking up the sun as she traveled around town on two wheels. On 24 August , he appeared in the Channel 4 documentary Idris Elba's How Clubbing Changed the World hosted by Idris Elba to explain how he invented the revolutionary technique of time stretching by misusing an HF ultra-harmonizer, which is usually used for guitars.
DEMOCRATIC MARXISM DEMOCRATIC MARXISM SERIES Series Editor: Vishwas Satgar The crisis of Marxism in the late twentieth century was the crisis of orthodox and van- guardist Marxism associated mainly with hierarchical communist parties, and imposed, even as state ideology, as the ‘correct’ Marxism. The Stalinisation of the Soviet Union and its eventual collapse exposed the inherent weaknesses and authoritarian mould of vanguardist Marxism. More fundamentally, vanguardist Marxism was rendered obsolete but for its residual existence in a few parts of the world, as well as within authoritarian national liberation movements in Africa and in China. With the deepening crises of capitalism, a new democratic Marxism (or democratic his- torical materialism) is coming to the fore. Such a democratic Marxism is characterised in the following ways: • Its sources span non-vanguardist grassroots movements, unions, political fronts, mass parties, radical intellectuals, transnational activist networks and parts of the progressive academy; • It seeks to ensure that the inherent categories of Marxism are theorised within constantly changing historical conditions to find meaning; • Marxism is understood as a body of social thought that is unfinished and hence challenged by the need to explain the dynamics of a globalising capitalism and the futures of social change; • It is open to other forms of anti-capitalist thought and practice, including cur- rents within radical ecology, feminism, emancipatory utopianism and indigenous thought; • It does not seek to be a monolithic and singular school of thought but engenders contending perspectives; • Democracy, as part of the heritage of people’s struggles, is understood as the basis for articulating alternatives to capitalism and as the primary means for con- stituting a transformative subject of historical change.
Subjective the New Collaboration Between Goldie & James Davidson
SUBJECTIVE THE NEW COLLABORATION BETWEEN GOLDIE & JAMES DAVIDSON ANNOUNCES DEBUT LP ACT ONE – MUSIC FOR INANIMATE OBJECTS OUT SEPTEMBER 21 VIA SONY MUSIC MASTERWORKS FIRST SINGLE INKOLELO LAUNCHES PROJECT JUNE 22 Embargoed until Friday 22 June, 10am UK / 11am CET / 5am EST DJ, producer, visual artist, actor and visionary Goldie MBE is set to join forces with revered engineer and producer James Davidson under the alias Subjective, releasing their first collaborative project, Act One – Music For Inanimate Objects, on September 21 via Masterworks. There are few names in the music industry that have achieved such a profound impact upon the culture of dance music as Goldie. Since his boundary-pushing debut Timeless, he has continued to create, challenge and revolutionise a sub-culture already known for its experimentation. Act One – Music For Inanimate Objects is the latest example from the autonomous producer. Making up the other half of Subjective is James Davidson, described by Goldie as an “exceptional engineer and an unsung producer in his own right” who has previously released via Metalheadz (under the alias Ulterior Motive with Greg Hepworth), and also helped produce Goldie’s 2017 album The Journey Man. This relationship organically progressed on to collaborating in the studio, “following the water as opposed to a strict concept”, Goldie adroitly explains. This was the birth of Subjective. “This album isn’t just Ulterior Motive and Goldie, it’s a vision of Subjective”, explains James. “It was really exciting to have no boundaries on what we were writing, not restricted by the BPM or anything else - we just went wherever the smiles were.” This free-flowing mindset is easy to hear.
Digital Cultures: Music Recommended Listening and Reading (Prof Andrew Hugill) The following long (but nowhere near long enough to cover everything) listening list not only illustrates some of the key ideas about modernism and postmodernism, structuralism and deconstruction, but also adds up to a mini-history of the evolution of electronic and electroacoustic music in the 20th Century. Some brief descriptive notes are included to indicate the salient features, but there is no substitute for careful and repeated listening, with perhaps some attempt to analyse what is heard. It should be remembered that Modernism and Postmodernism are not musical styles, nor words that artists and composers use to describe their work, but rather terms from critical and cultural theory that seem to sum up broad tendencies in art. In fact, all the pieces below will probably be heard to exhibit characteristics of both ‘isms’. Some useful questions to ask when listening are: what is the artist’s intention? How well is it realized? What is the cultural context for the work? What are its compositional techniques? What is the musical language? Pierre Schaeffer ‘Etude aux chemins de fer’ from ‘Cinq études de bruits’ (1948) on OHM: the early gurus of electronic music: 1948-1980. Roslyn, New York: Ellipsis Arts. This was the first time recorded sound was assembled into a musical composition. The sounds included steam engines, whistles and railway noises. Pierre Schaeffer and Pierre Henry Symphonie pour un homme seul (1950) on Pierre Schaeffer: l’oeuvre musicale EMF EM114. A 12-movement musical account of a man’s day using recorded sounds.