An Interview with Queer Pop Musician Be Steadwell
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Interpreting in the Zone
3 The Interpreter in the Zone (and Other Zones) Interpreting requires a high degree of concentration and engagement in the moment, and the results of the two studies indicate that this type of intense attention can lead to an in-the-zone experience. As introduced in Chapter 1, being “in the zone” is an exhilarating experience in which people are completely absorbed in what they are doing and are perform- ing at their best. Their skills and judgment rise to the challenges before them, and they experience a state of euphoria. Being in the Zone Professionals, artists, performers, athletes, and others report having in- the-zone (flow) experiences. Csikszentmihalyi1 clarifies what allows for this type of experience to occur by explaining, The optimal state of inner experience . [is one] in which there is order to consciousness. This happens when psychic energy—or attention—is invested in realistic goals, and when skills match the opportunities for action. The pursuit of a goal brings order in awareness because a person must concen- trate attention on the task at hand and momentarily forget everything else. These periods of struggling to overcome challenges are what people find to be the most enjoyable times of their lives.2 In-the-zone experiences are characterized by intense attention and the suc- cessful application of skills, expertise, and decision-making, which allow one to overcome challenges and to feel good about that accomplishment. Csikszentmihalyi explains that there are three primary characteristics of flow: the complexity of the experience, the pleasure of the experience, and its contribution to one’s ability to grow and develop. -
United States District Court for the Western District of Pennsylvania
Case 2:08-cv-01327-GLL Document 8 Filed 11/26/08 Page 1 of 3 UNITED STATES DISTRICT COURT FOR THE WESTERN DISTRICT OF PENNSYLVANIA ZOMBA RECORDING LLC, a Delaware limited liabiHty company; ELECTRONICALLY FILED BMG MUSIC, a New York general partnership; INTERSCOPE RECORDS, a Califorma general partnership; UMG CIVIL AcrION NO. 2:08-cv-01327-GLL RECORDINGS, INC., a Delaware corporation; and WARNER BROS. RECORDS INC., a Delaware corporation, Plaintiffs, vs. ClARA MICHELE SAURO, Defendant. DEFAULT .JUDGMENT AND PERMANENT IN,JUNCTION Based upon Plaintiffs' Motion For Default Judgment By The Court, and good cause appearing therefore, it is hereby Ordered and Adjudged that: 1. Plaintiffs seek the minimum statutory damages of $750 per infringed work, as authorized under the Copyright Act (17 U.S.c. § 504(c)(1», for each of the ten sound recordings listed in Exhibit A to the Complaint. Accordingly, having been adjudged to be in default, Defendant shall pay damages to Plaintiffs for infringement of Plaintiffs' copyrights in the sound recordings listed in Exhibit A to the Complaint, in the total principal sum of Seven Thousand Five Hundred Dollars ($7,500.00). 2. Defendant shall further pay Plaintiffs' costs of suit herein in the amount of Four Hundred Twenty Dollars ($420.00). Case 2:08-cv-01327-GLL Document 8 Filed 11/26/08 Page 2 of 3 3. Defendant shall be and hereby is enjoined from directly or indirectly infringing Plaintiffs' rights under federal or state law in the following copyrighted sound recordings: • "Cry Me a River," on album "Justified," -
PTAB April 8, 2021 Meeting Packet
Municipality of Anchorage Public Transit Advisory Board Meeting Agenda April 8, 2021, 5:30–7:00 p.m. https://bit.ly/PTAB-April-2021 1. Call to Order 2. Roll Call 3. Approval of the Agenda 4. Public Involvement Announcement: For those watching live online, comments and questions can be submitted via Teams Live Q&A by clicking on the Q&A button on the right side of the screen. Public comments for this meeting have also been collected via email and people have had the opportunity to sign up for a phone call. When the Board reaches your agenda item, your comment will be addressed, first by written comment, then by Teams Live Q&A, and finally via outbound phone call. If you have elected to be contacted by phone, the meeting moderator will attempt to call you after the agenda item has been discussed by the Board. You will have 2 minutes to speak on each item you wish to comment on. Written comments will be read aloud by the meeting moderator after the items have been discussed by the Board. Teams Live Q&A comments will be addressed when appropriate. A recording is being made of this meeting and will be posted on the Municipal website. 5. Action / Information Items a. Minutes of the March 11, 2021 Meeting (Action Item) b. Director’s Update (Info Item) c. PTAB Core Ideology and Annual Goals (Action Item) d. 2020 System Report Card (Info Item) e. Ridership Update (Info Item) 6. Public Comments [2 minutes each] 7. Member Comments 8. -
Peter Sidote : Determination Dta Nos
STATE OF NEW YORK DIVISION OF TAX APPEALS __________________________________________ In the Matter of the Petitions : of : PETER SIDOTE : DETERMINATION DTA NOS. 825772, for Revision of Determinations or for Refund of : 825899, 825964, Sales and Use Taxes under Articles 28 and 29 of AND 825965 the Tax Law for the Periods June 1, 2008 through : February 28, 2010 and June 1, 2010 through May 31, 2013. : __________________________________________ Petitioner, Peter Sidote, filed petitions for revision of determinations or for refund of sales and use taxes under Articles 28 and 29 of the Tax Law for the periods June 1, 2008 through February 28, 2010 and June 1, 2010 through May 31, 2013. A hearing was held before Barbara J. Russo, Administrative Law Judge, at the offices of the Division of Tax Appeals in New York, New York, on October 2, 2014 at 10:30 A.M., with all briefs to be submitted by February 26, 2015, which date commenced the six-month period for issuance of this determination. Petitioner appeared by Sales Tax Defense LLC (Mark L. Stone, CPA, and Jennifer Koo, Esq., of counsel). The Division of Taxation appeared by Amanda Hiller, Esq. (Michael J. Hall). ISSUES I. Whether Peter Sidote was a person responsible for the collection and payment of sales and use taxes on behalf of POP, Inc., d/b/a Party Time Beverages, within the meaning and intent of Tax Law §§ 1131(1) and 1133(a). -2- II. Whether the Division of Taxation has met its burden of proof for the assertion of fraud penalties against petitioner pursuant to Tax Law § 1145(a)(2). -
The Globalization of K-Pop: the Interplay of External and Internal Forces
THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological. -
Bill Carrothers Press Pack
605 Ridge Road Mass City, MI 49948 Bill Carrothers (906)883-3820 www.bridgeboymusic.com [email protected] Penguin Guide To Jazz on CD 8th and 9th editions (2006 and 2008) (4 star rating system) Carrothers is a class act, already endowed with a formidable breadth of experience, and able to fit in with most contemporary jazz situations. That's often a problem when it comes to helming your own dates, but these records aren't short on confidence or ideas. While the session in Go Jazz's After Hours series is a bit one- paced - a dozen ballads all negotiated at a slow walk - Carrothers lays bare the material and breaks it into pristine pieces. One to sample a few tracks at a time. It's rather better recorded than some of the entries in this series. Duets With Bill Stewart ★★★ The Duets With Bill Stewart record reduces the cast to two, although since Stewart and Carrothers have worked together many times there's no sense of anything missing. The material's a good deal more diverse in both source and treatment; not many modern pianists would think of playing Puttin' on the Ritz, here played with left hand boogie figures which pop in and out of the improvising, or The Whiffenpoof Song. Oddest piece might be I Apologize, in which Stewart rattles out a tem- poless tattoo before Carrothers enters to play the tune almost straight. A lot of the music sounds like a private dialogue, and it's hard to get inside. Swing Sing Songs ★★★1/2 Swing Sing Songs is an extraordinary programme. -
Copy UPDATED KAREOKE 2013
Artist Song Title Disc # ? & THE MYSTERIANS 96 TEARS 6781 10 YEARS THROUGH THE IRIS 13637 WASTELAND 13417 10,000 MANIACS BECAUSE THE NIGHT 9703 CANDY EVERYBODY WANTS 1693 LIKE THE WEATHER 6903 MORE THAN THIS 50 TROUBLE ME 6958 100 PROOF AGED IN SOUL SOMEBODY'S BEEN SLEEPING 5612 10CC I'M NOT IN LOVE 1910 112 DANCE WITH ME 10268 PEACHES & CREAM 9282 RIGHT HERE FOR YOU 12650 112 & LUDACRIS HOT & WET 12569 1910 FRUITGUM CO. 1, 2, 3 RED LIGHT 10237 SIMON SAYS 7083 2 PAC CALIFORNIA LOVE 3847 CHANGES 11513 DEAR MAMA 1729 HOW DO YOU WANT IT 7163 THUGZ MANSION 11277 2 PAC & EMINEM ONE DAY AT A TIME 12686 2 UNLIMITED DO WHAT'S GOOD FOR ME 11184 20 FINGERS SHORT DICK MAN 7505 21 DEMANDS GIVE ME A MINUTE 14122 3 DOORS DOWN AWAY FROM THE SUN 12664 BE LIKE THAT 8899 BEHIND THOSE EYES 13174 DUCK & RUN 7913 HERE WITHOUT YOU 12784 KRYPTONITE 5441 LET ME GO 13044 LIVE FOR TODAY 13364 LOSER 7609 ROAD I'M ON, THE 11419 WHEN I'M GONE 10651 3 DOORS DOWN & BOB SEGER LANDING IN LONDON 13517 3 OF HEARTS ARIZONA RAIN 9135 30 SECONDS TO MARS KILL, THE 13625 311 ALL MIXED UP 6641 AMBER 10513 BEYOND THE GREY SKY 12594 FIRST STRAW 12855 I'LL BE HERE AWHILE 9456 YOU WOULDN'T BELIEVE 8907 38 SPECIAL HOLD ON LOOSELY 2815 SECOND CHANCE 8559 3LW I DO 10524 NO MORE (BABY I'MA DO RIGHT) 178 PLAYAS GON' PLAY 8862 3RD STRIKE NO LIGHT 10310 REDEMPTION 10573 3T ANYTHING 6643 4 NON BLONDES WHAT'S UP 1412 4 P.M. -
Getting in the Zone, Part 1: Flow and Finding a State of Peak Performance
MINDFUL VOICE Lynn Helding, Associate Editor Getting in the Zone, Part 1: Flow and Finding a State of Peak Performance Sean McCarther eople call it different names: in the zone, in the groove, on fire, in the moment, present, unified, tuned in, a high, a rush. All these terms describe a similar sensation. One of my first experiences of being “in the zone” was at the finals for a NATS competition Pduring my senior year of undergraduate studies. I was singing Papageno’s suicide aria from Die Zauberflöte, and, near the beginning of the aria, made a reaching gesture with my right hand. I remember watching my hand and arm shake violently and a sense of terror crept over me. In that moment, a Sean McCarther very simple thought came to me: “No.” My hand stopped shaking, my mind focused on the moment at hand, and I experienced a fascinating connection with the world around me. It was as if I could feel the audience, my pianist, and the music as never before. Time slowed down and I felt a unification of body, mind, and voice. It was as if I could do no wrong. And, in the blink of an eye, the aria was over. It was some of the most fun I had ever had performing. “This,” I said to myself. “I want more of this.” I later learned that what I had experienced is what Hungarian-born psychologist Mihaly Csikszentmihalyi calls “flow.” MIHALY CSIKSZENTMIHALYI AND THE CONCEPT OF FLOW For the first decade or so of his career Csikszentmihalyi’s primary focus was on the study of creativity. -
Such Stuff Podcast Season 7, Episode 1: She's Behind You! [Music Plays
Such Stuff podcast Season 7, Episode 1: She’s behind you! [Music plays] Imogen Greenberg: Hello and welcome to another episode of Such Stuff the podcast from Shakespeare's Globe. Now that it's officially December the festive season can truly begin. With all the promise of a new year and the renewal it brings on the horizon we wanted to spend a few weeks cosying up against the dark nights and the frosty mornings and take a look at some of the theatre and the storytelling that brings us together at this time of year. So this week on the podcast we'll be turning our attention to that great theatrical festive tradition panto. With the return of our very own festive show Christmas at the (Snow) Globe, we decided to delve into the rich history and contemporary stylings of panto in all of its many forms. So we chatted to artists and theatre-makers creating panto today, about why this convivial form is so important this year of all years. We reminisced about pantos of Christmas past and discussed the joys and the pitfalls of tradition. So stay tuned for the first of our advent offerings here on Such Stuff. [Music plays] First up Christmas at the (Snow) Globe. Last year Sandi and Jenifer Toksvig created this extraordinary festive show bespoke for the Globe Theatre to celebrate all the joyous wonders of the season. This year we're bringing it back, though with some substantial changes due to current restrictions. So we caught up with Jen and Ess Grange who was part of the company for Christmas at the (Snow) Globe last year as an audience elf, ushering the Christmas spirit into the yard, to talk about audience participation and how we're ushering the warm embrace of the Globe Theatre into people's homes this year. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
Title Artist Name SUNTAN CITY AARON PRITCHETT SAVE A
Title Artist Name SUNTAN CITY AARON PRITCHETT SAVE A HORSE, RIDE A COWBOY BIG & RICH GOD'S COUNTRY BLAKE SHELTON BOYS 'ROUND HERE BLAKE SHELTON ALL ABOUT TONIGHT BLAKE SHELTON HONEY BEE BLAKE SHELTON A GUY WITH A GIRL BLAKE SHELTON REMIND ME BRAD PAISLEY & CARRIE UNDERWOOD LOVE SOMEONE BRETT ELDREDGE CECILIA BRETT KISSEL SOUTHBOUND CARRIE UNDERWOOD CHURCH BELLS CARRIE UNDERWOOD BLOWN AWAY CARRIE UNDERWOOD DIRTY LAUNDRY CARRIE UNDERWOOD BUY ME A BOAT CHRIS JANSON RAISED ON COUNTRY CHRIS YOUNG Hangin' On Chris Young NOTHING BUT SUMMER DALLAS SMITH SKY STAYS THIS BLUE DALLAS SMITH ALL TO MYSELF DAN + SHAY SPEECHLESS DAN + SHAY TEQUILA DAN + SHAY Wagon Wheel Darius Rucker feat. Lady Antebellu EVERYTHING'S GONNA BE ALRIGHT DAVID LEE MURPHY FEAT. KENNY CHESNEY CANADIAN GIRLS DEAN BRODY TIME DEAN BRODY DRUNK ON A PLANE DIERKS BENTLEY SOMEWHERE ON A BEACH DIERKS BENTLEY BURNING MAN DIERKS BENTLEY F. BROTHERS OSBORN GOOD GIRL DUSTIN LYNCH SOME OF IT ERIC CHURCH DRINK IN MY HAND ERIC CHURCH SPRINGSTEEN ERIC CHURCH Simple Florida Georgia Line ROUND HERE FLORIDA GEORGIA LINE CRUISE FLORIDA GEORGIA LINE SUN DAZE FLORIDA GEORGIA LINE GET YOUR SHINE ON FLORIDA GEORGIA LINE This Is How We Roll Florida Georgia Line feat. Luke Bryan LETS LAY DOWN AND DANCE GARTH BROOKS SHE'S WITH ME HIGH VALLEY DOWN TO THE HONKYTONK JAKE OWEN I WAS JACK (YOU WERE DIANE) JAKE OWEN REARVIEW TOWN JASON ALDEAN GIRL LIKE YOU JASON ALDEAN LIGHTS COME ON JASON ALDEAN THEY DON'T KNOW JASON ALDEAN DIRT ROAD ANTHEM JASON ALDEAN NIGHT SHIFT JON PARDI DIRT ON MY BOOTS JON PARDI SOMEBODY ELSE WILL JUSTIN MOORE YOU LOOK LIKE I NEED A DRINK JUSTIN MOORE HEAVEN KANE BROWN WE WERE KEITH URBAN SOMEWHERE IN MY CAR KEITH URBAN SOMEBODY LIKE YOU KEITH URBAN KISS A GIRL KEITH URBAN WASTED TIME KEITH URBAN WHO WOULDN'T WANT TO BE ME KEITH URBAN YOU LOOK GOOD IN MY SHIRT KEITH URBAN Coming Home Keith Urban feat. -
Conceptually Androgynous
Umeå Center for Gender Studies Conceptually androgynous The production and commodification of gender in Korean pop music Petter Almqvist-Ingersoll Master Thesis in Gender Studies Spring 2019 Thesis supervisor: Johanna Overud, Ph. D. ABSTRACT Stemming from a recent surge in articles related to Korean masculinities, and based in a feminist and queer Marxist theoretical framework, this paper asks how gender, with a specific focus on what is referred to as soft masculinity, is constructed through K-pop performances, as well as what power structures are in play. By reading studies on pan-Asian masculinities and gender performativity - taking into account such factors as talnori and kkonminam, and investigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for a qualitative research project. By conducting qualitative interviews with Swedish K-pop fans and performing semiotic analysis of K-pop music videos, the thesis finds that although K-pop masculinities are perceived as feminine to a foreign audience, they are still heavily rooted in a heteronormative framework. Furthermore, in investigating the production of gender performativity in K-pop, it finds that neoliberal commercialism holds an assertive grip over these productions and are thus able to dictate ‘conceptualizations’ of gender and project identities that are specifically tailored to attract certain audiences. Lastly, the study shows that these practices are sold under an umbrella of ‘loyalty’ in which fans are incentivized to consume in order to show support for their idols – in which the concept of desire plays a significant role. Keywords: Gender, masculinity, commercialism, queer, Marxism Contents Acknowledgments ................................................................................................................................... 1 INTRODUCTION .................................................................................................................................