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Discography of the Mainstream Label
Discography of the Mainstream Label Mainstream was founded in 1964 by Bob Shad, and in its early history reissued material from Commodore Records and Time Records in addition to some new jazz material. The label released Big Brother & the Holding Company's first material in 1967, as well as The Amboy Dukes' first albums, whose guitarist, Ted Nugent, would become a successful solo artist in the 1970s. Shad died in 1985, and his daughter, Tamara Shad, licensed its back catalogue for reissues. In 1991 it was resurrected in order to reissue much of its holdings on compact disc, and in 1993, it was purchased by Sony subsidiary Legacy Records. 56000/6000 Series 56000 mono, S 6000 stereo - The Commodore Recordings 1939, 1944 - Billy Holiday [1964] Strange Fruit/She’s Funny That Way/Fine and Mellow/Embraceable You/I’ll Get By//Lover Come Back to Me/I Cover the Waterfront/Yesterdays/I Gotta Right to Sing the Blues/I’ll Be Seeing You 56001 mono, S 6001 stereo - Begin the Beguine - Eddie Heywood [1964] Begin the Beguine/Downtown Cafe Boogie/I Can't Believe That You're in Love with Me/Carry Me Back to Old Virginny/Uptown Cafe Boogie/Love Me Or Leave Me/Lover Man/Save Your Sorrow 56002 mono, S 6002 stereo - Influence of Five - Hawkins, Young & Others [1964] Smack/My Ideal/Indiana/These Foolish Things/Memories Of You/I Got Rhythm/Way Down Yonder In New Orleans/Stardust/Sittin' In/Just A Riff 56003 mono, S 6003 stereo - Dixieland-New Orleans - Teagarden, Davison & Others [1964] That’s A- Plenty/Panama/Ugly Chile/Riverboat Shuffle/Royal Garden Blues/Clarinet -
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. -
K-Pop Fandom in Lima,Perú
Wesleyan ♦ University K-POP FANDOM IN LIMA, PERÚ: VIRTUAL AND LIVE CIRCULATION PATTERNS By Stephanie Ho Faculty Advisor: Dr. Mark Slobin A Dissertation submitted to the Faculty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts. Middletown, Connecticut MAY 2015 i Acknowledgements I would like to thank my advisor, Dr. Mark Slobin, for his invaluable guidance and insights during the process of writing this thesis. I am also immensely grateful to Dr. Su Zheng and Dr. Matthew Tremé for acting as members of my thesis committee and for their considered thoughts and comments on my early draft, which contributed greatly to the improvement of my work. I would also like to thank Gabrielle Misiewicz for her help with editing this thesis in its final stages, and most importantly for supporting me throughout our time together as classmates and friends. I thank the Peruvian fans that took the time to help me with my research, as well as Virginia and Violeta Chonn, who accompanied me on fieldwork visits and took the time to share their opinions with me regarding the Limeñan fandom. Thanks to my friends and colleagues at Wesleyan – especially Nicole Arulanantham, Gen Conte, Maho Ishiguro, Ellen Lueck, Joy Lu, and Ender Terwilliger – as well as Deb Shore from the Music Department, and Prof. Ann Wightman of the Latin American Studies Department. From my pre-Wesleyan life, I would like to acknowledge Francesca Zaccone, who introduced me to K-pop in 2009, and has always been up for discussing the K-pop world with me, be it for fun or for the purpose of helping me further my analyses. -
Between Hybridity and Hegemony in K-Pop's Global Popularity
International Journal of Communication 11(2017), 2367–2386 1932–8036/20170005 Between Hybridity and Hegemony in K-Pop’s Global Popularity: A Case of Girls’ Generation’s American Debut GOOYONG KIM1 Cheyney University of Pennsylvania, USA Examining the sociocultural implications of Korean popular music (K-pop) idol group Girls’ Generation’s (SNSD’s) debut on Late Show With David Letterman, this article discusses how the debut warrants a critical examination on K-pop’s global popularity. Investigating critically how the current literature on K-pop’s success focuses on cultural hybridity, this article maintains that SNSD’s debut clarifies how K-pop’s hybridity does not mean dialectical interactions between American form and Korean content. Furthermore, this article argues that cultural hegemony as a constitutive result of sociohistorical and politico- economic arrangements provides a better heuristic tool, and K-pop should be understood as a part of the hegemony of American pop and neoliberalism. Keywords: Korean popular music, cultural hybridity, cultural hegemony, neoliberalism As one of the most sought-after Korean popular music (K-pop) groups, Girls’ Generation’s (SNSD’s) January 2012 debut on two major network television talk shows in the United States warrants critical reconsideration of the current discourse on cultural hybridity as the basis of K-pop’s global popularity. Prior to Psy’s “Gangnam Style” phenomenon, SNSD’s “The Boys” was the first time a Korean group appeared on an American talk show. It marks a new stage in K-pop’s global reach and influence. With a surge of other K- pop idols gaining global fame, especially in Japan, China, and other Asian countries, SNSD’s U.S. -
In Concert Plus Speaks with Lisa St
The Westfield Record wishes its readers a safe and happy Thanksgiving Vol. 11, No. 48 The^festfield Record Thursday, November 28,1996 A Forbes Newspaper 50 cents i Briefs Tree-lighting Big First Night bash is on tap ceremony Sunday The annual tree-lighting cer- emony will be Sunday at the 'Event will bring a lot of life back to downtown/ organizer says train station. Recorded music and live the six elementary schools will be creating Among the many events scheduled for masks and puppets to carry along the route. music by the WextfleM Com- THEMCORD TTie Gap will sponsor Westfield First Night are ballroom dancing instruction; munity Band, weather permit* After this, participants will be able to dis- an internationally known bluegrast; band ting, win Indude traditional hol- With 1906 quickly winding down, the or- Symphony Orchestra's perse to any of the more than 30 events that known as Skyline; the Westfield Symphony iday selections and carols 5-6 ganizers of First Night Westfield are busy will be going on simultaneously at 12 loca- Orchestra; an interactive singer and enter- pom. wrapping up details for the event performances at First Night tions around town. The sites will be grouped tainer named Pierce Joyce; and Aqunducks, Mayor Garland "Bud" Booth* Ftret Night is a New Year's Eve celebra- See Page A-9. into three clusters so that people will not a synchronized swim show by nationally will ceremonially light the tree tion with something for everyone, said its have to drive from location to location. ranked junior Olympic medalists. -
Analysing Korean Popular Music for Global
Analysing Korean Popular Music for Global Audiences: A Social Semiotic Approach Jonas Robertson Paper originally submitted March 2014 to the Department of English of the University of Birmingham, UK, as an assignment in Multimodal Communication, in partial fulfillment of a Master of Arts in Teaching English as a Foreign / Second Language (TEFL / TESL). Assignment: MMC/13/04 Collect between three and five pieces of music that might be taken to represent a particular artist, genre, style, or mood and present an analysis in terms of the social semiotic approach to music. You might like to concentrate on one or more of the following: - Timing - Sound quality - Melody - Perspective - Tagg’s Sign Typology Reflect briefly on how useful you found the framework in identifying how the pieces of music you chose might work to make meanings. 1 Contents 1 Introduction 3 2 Background of Social Semiotics and Music 3 3 Framework for Analysis 4 4 Analysis A: Fantastic Baby by Big Bang 7 5 Analysis B: I Got a Boy by Girls’ Generation 8 6 Analysis C: The Baddest Female by CL 10 7 Analysis D: La Song by Rain 12 8 Discussion 14 9 Conclusion 15 References 17 Appendices 19 2 1 Introduction This paper documents the analysis of four sample selections of Korean popular music (K- pop) from a social semiotic approach to determine what meanings are conveyed musically. Each of these songs have been selected as examples of K-pop that have been designed to be marketed beyond the borders of Korea, targeting an increasingly global audience. Despite featuring primarily Korean lyrics, these major hits remain popular among the millions of fans overseas who cannot understand most of the words. -
David Thibodeau
Wisconsin Veterans Museum Research Center Transcript of an Oral History Interview with DAVID THIBODEAU Artillery, Army, World War II 2000 OH 286 OH 286 Thibodeau, David. (1925- ). Oral History Interview, 1999. Master Copy: 1 video recording (ca. 70 min.); ½ inch, color. User Copy: 2 audio cassettes (ca. 70 min.); analog, 1 7/8 ips, mono. Abstract: David Thibodeau, a Peshtigo (Wisconsin) native, discusses his World War II service as a howitzer gunner with Battery B of the 42nd Artillery Battalion which supported the 4th Infantry Division in Europe. Landing at Normandy three days after D-Day, Thibodeau recalls seeing wrecked gliders, living in a foxhole, moving through the hedgerows, and attempting to help soldiers who had been wounded by German fire. He touches upon s ut s t t n qu rt r t p r n P r s r n n st y n n r n hayloft. Thibodeau tells of crossing into Belgium and Germany, finding and drinking wine in an abandoned chalet and fighting in the Hurtgen Forest where he was wounded and taken prisoner. He describes his treatment as a prisoner of war (POW) including trading cigarettes with his captors, working in a bakery, stay in Stalag 4B, and working on a German farm. Thibodeau talks about the food in camp, actions of other prisoners, and being abandoned by the German guards and moving west to avoid the advancing Russians. He comments on liberation, stay at Camp Lucky Strike, and return trip to New York. Biographical Sketch: David Thibodeau was born in Iron Mountain (Michigan) in 1925 and was drafted to the army in 1943 and served in World War II in an artillery battalion in Europe. -
Gender Discrimination in the K-Pop Industry
Journal of International Women's Studies Volume 22 Issue 7 Gendering the Labor Market: Women’s Article 2 Struggles in the Global Labor Force July 2021 Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry Liz Jonas Follow this and additional works at: https://vc.bridgew.edu/jiws Part of the Women's Studies Commons Recommended Citation Jonas, Liz (2021). Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry. Journal of International Women's Studies, 22(7), 3-18. Available at: https://vc.bridgew.edu/jiws/vol22/iss7/2 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. This journal and its contents may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. ©2021 Journal of International Women’s Studies. Crafted for the Male Gaze: Gender Discrimination in the K-Pop Industry By Liz Jonas1 Abstract This paper explores the ways in which the idol industry portrays male and female bodies through the comparison of idol groups and the dominant ways in which they are marketed to the public. A key difference is the absence or presence of agency. Whereas boy group content may market towards the female gaze, their content is crafted by a largely male creative staff or the idols themselves, affording the idols agency over their choices or placing them in power holding positions. Contrasted, girl groups are marketed towards the male gaze, by a largely male creative staff and with less idols participating. -
Fenomena Hallyu Tren
FENOMENA HALLYU DALAM PEMBENTUKAN TREN REMAJA (Studi kasus pada Sone penggemar Girl Band Korea “Girls Generation” di Han-Guk Aein Community) SKRIPSI Diajukan sebagai Salah Satu Syarat untuk Memperoleh Gelar Sarjana Ilmu Komunikasi pada Konsentrasi Humas Program Studi Ilmu Komunikasi Disusun Oleh : Muhammad Auliya Ul Ikhwan NIM. 082099 KONSENTRASI HUMAS PROGRAM STUDI ILMU KOMUNIKASI FAKULTAS ILMU SOSIAL DAN ILMU POLITIK UNIVERSITAS SULTAN AGENG TIRTAYASA BANTEN 2014 “Keterbatasan bukanlah sebuah halangan, akan tetapi keterbatasan justru menjadi tanda bahwa kita masih berada dibawah keharusan kita ” (Mario Teguh) Skripsi ini kupersembahkan tulus untuk Bapak dan Ibu Terima kasih atas doa, kesabaran dan ketulusan tiada henti Yang menjadikanku luar biasa... ABSTRAK Muhammad Auliya Ul Ikhwan, 082099. 2014. Tim Pembimbing : Neka Fitriyah, S.Sos., M.Si. selaku dosen pembimbing pertama dan Andin Nesia, S.ik., M.Ikom.. selaku dosen pembimbing kedua. Judul penelitian : Fenomena Hallyu dalam Pembentukan Tren Remaja (Studi Kasus pada SONE Penggemar Girl Band Korea Girls’ Generation di Han-guk Aein Community)”. Penelitian ini untuk mengetahui bagaimana fenomena Hallyu dalam pembentukan tren remaja, mulai dari awal diperkenalkan hingga membentuk trend remaja. Dalam penelitian ini, yang menjadi fokus penelitian adalah bagaimana proses mengadopsi trend remaja khususnya Sone di komunitas Han Guk Aein dan bagaimana proses interaksi terhadap komunitas lainnya. Penelitian ini menggunakan teori Asimilasi dan teori Penyusunan Tindakan. Penelitian ini menggunakan metode dengan pendekatan deskriptif kualitatif. Peneliti mengumpulkan data dengan wawancara, dan observasi. Obyek penelitian ini adalah karena memenuhi kriteria sebagai informan yaitu memahami tentang fenomena hallyu secara mendalam. Dalam penelitian ini, peneliti berhasil mendapatkan data dan informasi tentang bagaimana proses mengadopsi trend remaja khususnya Sone di komunitas Han Guk Aein dan bagaimana proses interaksi terhadap komunitas lainnya. -
Marketing K-Pop and J-Pop in the 21St Century Sarah Brand Dickinson College
Dickinson College Dickinson Scholar Student Honors Theses By Year Student Honors Theses 5-21-2017 Marketing K-Pop and J-Pop in the 21st Century Sarah Brand Dickinson College Follow this and additional works at: http://scholar.dickinson.edu/student_honors Part of the Asian Studies Commons, Digital Humanities Commons, Japanese Studies Commons, Korean Studies Commons, Music Commons, and the Other Film and Media Studies Commons Recommended Citation Brand, Sarah, "Marketing K-Pop and J-Pop in the 21st Century" (2017). Dickinson College Honors Theses. Paper 266. This Honors Thesis is brought to you for free and open access by Dickinson Scholar. It has been accepted for inclusion by an authorized administrator. For more information, please contact [email protected]. MARKETING K-POP AND J-POP IN THE 21ST CENTURY Sarah Brand Senior Thesis Department of East Asian Studies Dickinson College May 10, 2017 Brand 2017 Music is an important part of daily life and, as a result, an integral part of culture. The way in which individuals are exposed to different genres and types of music helps illustrate the extent to which globalization has had an impact on the world. Before the invention of the internet, music was only available for purchase to consumers who went to record stores and physically purchased goods. Now, countless unique songs and genres are readily available with just a single search. Due to how easily consumers can access new music, digital distribution has completely overtaken the profit from selling physical copies of albums. In 2006, record labels still made $9.4 billion from CD sales in the United States, despite the fact that digital distribution entities, such as Napster and iTunes, provided digital copies of the same songs. -
Chocolate, Mustard and a Fox a and Mustard Chocolate, Rånes Nebb Christer Brian
Chocolate, Mustard and a Fox a and Mustard Chocolate, Rånes Nebb Christer Brian NTNU Norwegian University of Science and Technology Master’s thesis Faculty of Humanities Department of Music Performance and ItsProduction K-Pop, Norwegian andaFox Mustard Chocolate, NebbRånes Brian Christer Trondheim, autumn2014 Trondheim, thesis Master’s in Musicology Brian Christer Nebb Rånes Chocolate, Mustard and a Fox Norwegian K-Pop, Its Production and Performance Master’s Thesis in Musicology Trondheim, November 2014 Norwegian University of Science and Technology Faculty of Humanities Department of Music CONTENTS Contents .......................................................................................................... iii Abstract ............................................................................................................ v Acknowledgements ..................................................................................... vii Introduction ................................................................................................... xi Chapter One: A Deliberate Globalization Strategy ................................ 1 Cultural Technology, Hybridization and the Creation of a “World Culture” ........................... 1 Chapter Two: Catering to the Global Market ........................................ 23 Globalization of Content in Crayon Pop’s “Bar Bar Bar” ........................................................ 23 “The Fox Say ‘Bar Bar Bar’” ..................................................................................................... -
© Copyright 2020 Young Dae
© Copyright 2020 Young Dae Kim The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2020 Reading Committee: Shannon Dudley, Chair Clark Sorensen Christina Sunardi Program Authorized to Offer Degree: Music University of Washington Abstract The Pursuit of Modernity: The Evolution of Korean Popular Music in the Age of Globalization Young Dae Kim Chair of the Supervisory Committee: Shannon Dudley School of Music This dissertation examines the various meanings of modernity in the history of Korean pop music, focusing on several crucial turning points in the development of K-pop. Since the late 1980s, Korean pop music has aspired to be a more advanced industry and establish an international presence, based on the economic leap and democratization as a springboard. Contemporary K-pop, originating from the underground dance scene in the 1980s, succeeded in transforming Korean pop music into a modern and youth-oriented genre with a new style dubbed "rap/dance music." The rise of dance music changed the landscape of Korean popular music and became the cornerstone of the K-pop idol music. In the era of globalization, K-pop’s unique aesthetics and strategy, later termed “Cultural Technology,” achieved substantial returns in the international market. Throughout this evolution, Korean Americans were vital players who brought K-pop closer to its mission of modern and international pop music. In the age of globalization, K-pop's modernity and identity are evolving in a new way.