DOCSLIB.ORG

View: a Survey of Residents in the Six-State Mid-Atlantic Region; Life on the Mid-Atlantic Coast 2017: a Five-State Survey of Coastal Community Residents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
View: a Survey of Residents in the Six-State Mid-Atlantic Region; Life on the Mid-Atlantic Coast 2017: a Five-State Survey of Coastal Community Residents THE MAGAZINE OF MONMOUTH UNIVERSITY » SPRING 2018 No. 128 ...and other rarities and artifacts in the Springsteen Collection page 34 * A ticket to show 128 of the Born in the U.S.A. Tour—closing night of the European leg—is one of many treasures in the collection. Contents Features | Spring 2018 BACKSTORY » After struggling to communicate with her daughter, Lisa, who was born with Rett syndrome, Professor Theresa Bartolotta set out on a path to improve communica- tions strategies for all persons with Rett and their families. Story, p. 28. Paul Corliss (left) and Nick Carlascio ’18, the first recipient of the Richard Corliss Memorial Endowed Scholarship. “I don’t think I would have been able to afford this great opportunity if it wasn’t for scholarships,” says Carlascio. The Power of Endowed Scholarships To honor his late brother, Paul Corliss wants to make a Monmouth education possible for a new generation of students. He’s already made a difference in the life of one Hawk. hen Trustee Paul Corliss established a distin- to foster academic excellence and help Monmouth W guished endowed scholarship in remembrance University students achieve the same professional of his late brother, noted film critic Richard Corliss, he heights as Richard. Wanted to ensure it would have an immediate impact on students. So Paul fully funded the scholarship Distinguished endowed scholarships can be with a gift of $100,000. That foresight and generosity established at Monmouth University with a gift of helped make a Monmouth education possible for $50,000, while endowed scholarships can be created Nick Carlascio ’18, the first recipient of the Richard with a gift of $25,000. Either type can be established Corliss Memorial Endowed Scholarship. with a pledge that is fulfilled over five years. When fully funded, endowed scholarships provide a Not content to stop there, Paul personally appealed perpetual source of financial assistance for students. to titans of the film industry to honor Richard’s legacy by contributing to the scholarship. His For more information on how you can establish an 24 28 34 outreach paid off handsomely with an anonymous endowed scholarship, contact Jonathan Meer, A NEW SCHOOL OF THOUGHT LANGUAGE OF LOVE ROCK RELICS America’s school-to-prison pipeline A rare neurological disorder robs The Bruce Springsteen Special Collec- gift of $100,000—doubling the endowment and vice president for University Advancement, at is having a devastating effect on girls and women of simple commu- tion is like the Promised Land for fans moving Paul closer to his goal of raising $1 million 732-571-3411 or [email protected]. at-risk youth. Monmouth students nication. A new effort aims to help of the Boss. And it’s got a new perma- have a plan to fix the system. give them their voices back. nent home at Monmouth University. photo MATT FURMAN Spring 2018 MONMOUTH 01 Contents letters Departments | Spring 2018 Wayne Cochran rocked Boylan featuring our own Andy Shawn.” TELL Gym better than anybody in the Bruce and the band were also very ’60s. I remember him breaking gracious. » MONMOUTH VOL. 37. NO. 2 chairs and rocking James Brown Andrew V. Shawn ’74 14 22 42 Monmouth magazine is published thrice US songs and then calming everyone annually by the Monmouth University down doing Otis Redding’s “Sitting Division of Enrollment Management. WHAT by the Dock of the Bay.” Great Sneaky sailors Vice President for memories. When I was captain of the Mon- Enrollment Management YOU Joe Rall ’69 mouth Sailing Team, there was a Robert D. McCaig, Ed.D. tradition for teams to “steal” the I was in a Blues-oriented group, U.S. Merchant Marine Academy’s Associate Vice President, THINK The Charlie Smith Band, while at Greek bear flag and hoist it on The Front Marketing & Communications Monmouth. We opened for B.B. their own flagpoles for the next Tara Peters ’94, ’99M Email us at » King when he played Monmouth regatta. After Navy stole it from currents RESEARCH & REFLECTION magazine@ Editor Gym in 1971. We had opened for the USMMA in Kings Point, the Tony Marchetti monmouth.edu, him once before, in Albany, New Monmouth team stole it from Navy 04 10 12 or write York, in 1969. B.B. remembered us in the dead of the night. We then NEED TO KNOW CONCEPTS EXPLAIN THIS Assistant Editor RE: Fall 2017 and was very gracious, and we all hoisted it on our greased flagpole Breanne McCarthy Without doubt, in my nearly us at Monmouth had a great time together that eve- at the Patten Point Yacht Club The new-look Edison Examining a new Mon- How to build a 50-year association with Mon- ning. By May 1974, I was in another where we held the next regatta. Science Building puts mouth poll on energy and better paper airplane. magazine, Design & Layout mouth, this is the best Mon- band, Clockwork, and we opened Nina Vuyosevich Anderson ’67 science on display. the mid-Atlantic coast. Monmouth Dog Ear Consultants mouth or Chancellor yet! Well for Bruce Springsteen on campus. University, Contributing Writers done on so thoughtfully, and It was a packed house in the gym, TIDES » CULTURE & COMMUNITY BELOW: An article from the Dec. 5, 1965, Mark Blackmon artfully, capturing the many facets Alumni House, and I was very proud when the an- edition of the Asbury Park Press on the of Monmouth! nouncer said, “Here is Clockwork, stealing of the flag. Mark Gola 400 Cedar 14 16 17 Maureen Harmon Mitchell Shivers ’70 Molly Petrilla Ave., West LONDON HOW MONMOUTH THIS IS Melissa Kvidahl Reilly Long Branch, CALLING WAS MADE MONMOUTH Monica Rozenfeld Prachi Patel is charting So Sweet A Cat Field is The scene at West Favorite campus NJ 07764. a new course for after named for an animal, but Long Branch. Photographers concerts Submissions for graduation. not the kind you’d expect. Bill Cardoni I saw many great shows at Mon- the Letters page Tina Colella mouth—Jethro Tull, The Byrds, are subject to PLAY » SPORTS & FITNESS Anthony DePrimo John Mayal—but my favorite was Dustin Fenstermacher the first time I saw Bruce. It was editing Matt Furman 1969 or ’70, and I was sick in bed for clarity and 20 22 Mark Krajnak with the flu. My roommates said, “Come on, we’re going to see length and HIGHER PURPOSE LEAPS AND BOUNDS Illustrators Steel Mill.” Steel who? When we must include After injury, Nick Wilker Sprinter Bryan SoSoo on life Davide Bonazzi got there, the gym was sectioned has embraced a new role after Monmouth and the glo- Dung Hoang off in half. In front of us was a the writer’s on the lacrosse team. ries of Old Bay Seasoning. Patrick Kirchner minimal drum kit, a bass guitar, name, address, Julie McLaughlin a guitar, and a few small amps. I and phone said, “I got out of bed for this?” number for On the Cover Bruce came out and the band The Back The Rest Springsteen Collection, started to play … and play … confirmation. and play—three hours of original » photographed by Matt Furman Class notes ALUMNI LIFE Letters, 03.A Day material, and the place was going at the Beach, 18. wild. Just phenomenal! I walked Sports Shorts, 22. out into the night and had an 42 50 Alumni Roundup, epiphany: I was cured. THE JUST HER CUP 44. In Memoriam, Jerry Tirotta ’71 CHANGEMAKER OF TEA 55. My Life Since Saoud Khalifah’s web- A freshman seminar Monmouth, 56. West Long Branch, NJ 07764 Mitch Ryder, Sam & Dave, Jack site can help you shop led Kaitlyn Baklarz to a 732-571-3489 Jones, Vanilla Fudge—I saw a lot of smarter. flavorful career. monmouth.edu great concerts at Monmouth, but 02 MONMOUTH Spring 2018 Spring 2018 MONMOUTH 03 Currents RESEARCH & REFLECTION NEED TO KNOW » Topics & trends Open for discovery THE NEW-LOOK EDISON SCIENCE BUILDING PUTS SCIENCE ON DISPLAY. BY TONY MARCHETTI welcome sight greeted students and faculty when they returned A to campus this semester: a fully functional, state-of-the-art science building. For the last two-and-a-half years, sections of Edison have been closed on a rotating basis as the facility un- derwent an extensive renovation and expansion. The interior was stripped down to the studs and sub-floor- ing, exterior walls were pushed out, and a new section was added, says Dean of the School of Science Steven Bachrach. Though technically not a new building, any- one who hasn’t visited campus in several years likely wouldn’t recognize the facility that stands adjacent to Torcivia Common. And once people step inside, they’ll see something even more spectacular. 04 MONMOUTH Spring 2018 photo MATT FURMAN Spring 2018 MONMOUTH 05 CURRENTS Gone are the cinder block walls, dark hallways, and brutalist ar- chitectural style that marked the old Edison. Large exteri- or windows and glass walls run- ning throughout the interior al- low natural light to pour in, giving Edison a bright, airy, open feel. Classrooms, labs, collaborative spaces, and faculty offices now seemingly blend into one large, inviting space. The design choice is “purposeful,” says Bachrach. “It puts science on display and gets students curious and excited about learning,” says Bachrach. “Instead of ‘hiding’ what we’re doing, we want to welcome peo- ple into the scientific endeavor. We hope this building will foster a sense of discovery. That’s why people become scientists—to be involved in discovery, to do some- thing new, to create new knowl- edge, to push back on the fron- tiers of what we understand.” The changes go beyond the aes- thetic.
Load more

Recommended publications
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • W Talking Pictures
    Wednesday 3 June at 20.30 (Part I) Wednesday 17 June at 20.30 Thursday 4 June at 20.30 (Part II) Francis Ford Coppola Ingmar Bergman Apocalypse Now (US) 1979 Fanny And Alexander (Sweden) 1982 “One of the great films of all time. It shames modern Hollywood’s “This exuberant, richly textured film, timidity. To watch it is to feel yourself lifted up to the heights where packed with life and incident, is the cinema can take you, but so rarely does.” (Roger Ebert, Chicago punctuated by a series of ritual family Sun-Times) “To look at APOCALYPSE NOW is to realize that most of us are gatherings for parties, funerals, weddings, fast forgetting what a movie looks like - a real movie, the last movie, and christenings. Ghosts are as corporeal an American masterpiece.” (Manohla Darghis, LA Weekly) “Remains a as living people. Seasons come and go; majestic explosion of pure cinema. It’s a hallucinatory poem of fear, tumultuous, traumatic events occur - projecting, in its scale and spirit, a messianic vision of human warfare Talking yet, as in a dream of childhood (the film’s stretched to the flashpoint of technological and moral breakdown.” perspective is that of Alexander), time is (Owen Gleiberman, Entertainment Weekly) “In spite of its limited oddly still.” (Philip French, The Observer) perspective on Vietnam, its churning, term-paperish exploration of “Emerges as a sumptuously produced Conrad and the near incoherence of its ending, it is a great movie. It Pictures period piece that is also a rich tapestry of grows richer and stranger with each viewing, and the restoration [in childhood memoirs and moods, fear and Redux] of scenes left in the cutting room two decades ago has only April - July 2009 fancy, employing all the manners and added to its sublimity.” (Dana Stevens, The New York Times) Audience means of the best of cinematic theatrical can choose the original version or the longer 2001 Redux version.
    [Show full text]
  • (Dis)Encounters in Oliver Stones's South Of
    101 HEMISPHERIC TRAVELLING AND (DIS)ENCOUNTERS IN OLIVER STONES’S SOUTH OF THE 1 Anelise R. Corseuil Universidade Federal de Santa Catarina RESUMO: O filme de Oliver Stone "Ao Sul da Fronteira", produzido em 2009, apresenta entrevistas e depoimentos de diversos presidentes latino-americanos, focalizando as diferenças políticas entre a América Latina e os Estados Unidos. Neste contexto, este trabalho analisa os discursos conflitantes subjacentes ao filme, quais sejam, seus discursos denunciatórios do neoliberalismo e o apagamento de diferenças nacionais da América Latina através da própria construção estética e narrativa fílmica e da projeção de um discurso democrata e anti-republicano, que perpassa a visão política da América Latina de Oliver Stone. PALAVRAS-CHAVE: Documentário; Narrativas de viagem; Oliver Stone; América Latina. ABSTRACT: Military dictatorships, guerrillas and geopolitical conflicts in Latin- American countries like Brazil, Chile, Argentina, Mexico, Nicaragua and El Salvador have been the object of analysis in various Canadian and American fictional films and documentaries in the last decades. Innumerable films and documentaries produced in Canada and the U.S. with institutional have depicted geopolitical conflicts in Latin America. Within this context of filmic production, this paper analyzes Oliver Stone´s documentary “South of the Border”, produced in 2009. Stone presents various interviews by former Latin American presidents. The film focuses on political differences between Latin America national politics and US foreign policies, as well as on US major TV Channels and its manipulation of the media, regarding Latin American political arena. The paper analyzes the conflicting discourses imbued in the film: its denouncing tone of neoliberalism and the erasure of Latin American national differences in the aesthetics choices and narrative techniques of the film.
    [Show full text]
  • Bc. Karolína Zalabáková
    NARATIVNÍ PRVKY VE VIDEOKLIPU Bc. Karolína Zalabáková Diplomová práce 2009 UTB ve Zlíně, Fakulta multimediálních komunikací 2 UTB ve Zlíně, Fakulta multimediálních komunikací 3 UTB ve Zlíně, Fakulta multimediálních komunikací 4 ABSTRAKT Práce se zabývá narativními prvky ve videoklipu. Snaží se odpově‐ dět na otázku, zda je videoklip divákovi schopen zprostředkovat zážitek založený na vyprávění příběhu. První část práce zkoumá vývoj žánru, fenomén hudební televize, propagační funkci videoklipu a po‐ sun videoklipu z nesamostatného žánru k primárnímu médiu. U vybraných videoklipů (Daft Punk: Revolution 909, 1998, režie: Ro‐ man Coppola. Cibo Matto: Sugar Water, 1996, režie: Michel Gondry. Pulp: Disco 2000, 1995, režie: Pedro Romhany 1995) budou analyzo‐ vány jejich narativní struktury a použité prostředky jejich formální stránky. Klíčová slova: videoklip, hudba, příběh, hudební televize, MTV, rekla‐ ma, propagace, scénář, režie. UTB ve Zlíně, Fakulta multimediálních komunikací 5 EXTRAIT DE LA THÈSE La thèse traite les éléments narratifs d’une band‐vidéo. Elle tente à donner des réponses à la question posée, si la bande‐vidéo est en mesure de traduire la chose vécue par l’intermédiaire de la narra‐ tion d’une histoire. La première partie de la thèse enquête sur l’évolution du genre, phénomène de la télévision musicale, fonc‐ tion promotionnelle de la bande‐vidéo ainsi que l’avancement de la bande‐vidéo en tant que genre dépendent vers le média primaire. Les structures narratives et mise en œuvre des moyens formels seront analysées chez les bandes‐vidéo selectionnées. (Daft Punk: Revolution 909, 1998, metteur en scène: Roman Coppola. Cibo Matto: Sugar Wa‐ ter, 1996, metteur en scène: Michel Gondry.
    [Show full text]
  • PRESS RELEASE LACMA's Sixth Annual Art+Film Gala Honors
    ^ PRESS RELEASE LACMA’s Sixth Annual Art+Film Gala Honors Robert Irwin and Kathryn Bigelow and Raises More than $3.6 Million Leonardo DiCaprio and Eva Chow Co-chaired the Evening Attended by More than 550 Prominent Guests on Saturday, October 29, 2016 Presented by Gucci (Los Angeles, October 30, 2016)—The Los Angeles County Museum of Art (LACMA) hosted its sixth annual Art+Film Gala on Saturday, October 29, 2016, honoring pioneering Light and Space artist Robert Irwin and Academy Award–winning filmmaker Kathryn Bigelow. Co-chaired by LACMA trustee Eva Chow and actor Leonardo DiCaprio, the evening brought together more than 550 distinguished guests from the art, film, fashion, and entertainment industries, among others. The evening raised more than $3.6 million, with proceeds supporting LACMA’s film initiatives and future exhibitions, acquisitions, and programming. The 2016 Art+Film Gala was made possible through the generous support of Gucci, with Gucci Creative Director Alessandro Michele as Gala Host Committee Chair. Eva Chow, co-chair of the Art+Film Gala, said, “This year we honor two legends. Robert Irwin is a Los Angeles icon whose captivating work surrounds us here at LACMA and inspires people all around the world. He's been, and continues to be, a profound influence on so many artists of our time. I’m also proud to celebrate Kathryn Bigelow, another artist who creates unforgettable work. It’s beside the point to think of her as a great woman filmmaker. She’s a great filmmaker, period.” Chow added, “This memorable evening would not have been possible without the ongoing support of Gucci, our partner since the inception of this event.
    [Show full text]
  • Intermediality As a Tool for Aesthetic Analysis and Critical Reflection, Edited by Sonya Petersson, Christer Johansson, Magdalena Holdar, and Sara Callahan, 49–74
    The Intersection between Film and Opera in the 1960s: Ingmar Bergman’s Hour of the Wolf as an Example of Formal Imitation Johanna Ethnersson Pontara Abstract The topic of this article is the intersection between media genres in 1960s Sweden. In a case study of Ingmar Bergman’s Hour of the Wolf (1968) it is shown how the music contributes to intermedial qualities through the film’s connection with opera. It is argued that the film, by how the music is related to sound effects and images, can be seen as an example of formal imitation. The imitation of opera is created through technical media of film, such as fore- grounding of media in the audio-visual space, and manipulations of sounds, music, and images. Of special interest is how, by alter- nating between synchronicity and counterpoint between images, sound effects, and music, Bergman attracts attention to the media as visual and sonic experiences and creates formal structures that deviate from the overall character of the film. The intermedial di- mension of the film revealed by the analysis is contextualized in re- lation to the historical discussion of mixed versus pure medialities. The film is seen in the light of an interest in media genre mixedness versus media genre specificity in 1960s Sweden. Introduction In a review of Ingmar Bergman’s Hour of the Wolf (Vargtimmen, 1968) published in the American film journalFilm Quarterly How to cite this book chapter: Ethnersson Pontara, Johanna. “The Intersection between Film and Opera in the 1960s: Ingmar Bergman’s Hour of the Wolf as an Example of Formal Imitation.” In The Power of the In-Between: Intermediality as a Tool for Aesthetic Analysis and Critical Reflection, edited by Sonya Petersson, Christer Johansson, Magdalena Holdar, and Sara Callahan, 49–74.
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • Getting Medieval
    Getting Medieval Sexualities and Communities, Fre and Postmodern Carolyn Dinshaw Duke University Press Durkam and London 1999 reserved © z© Duke University Press All rights acidjree paper A Printed in the United States ofAmerica on for Marget Designed by C. IL Westmoreiand Systems, Inc. vpeset in MonoUpe Fournier by Tseng Information Libraiy ofCongress CataloginginPublicati0n Data appear on the lt printedpage ofthis hooP politlcs of essentialized identities—hut rather, as Heather Findlay puts it, because we recognize in these others who we are not; Ernesto Laclau and Chantal Mouffe maintain that in any “ overdetermined” Coda social field “the presence of some in the others hinders the suturing of the identity of any of them,” and, as Findlay continues, “this hin- drance is the condition, not the failure, of politics.” 96 Queer history, Getting Medieval: queer medieval studies, queer-friendly scholarship. the fight for pres- ervation of funding for the humanities, the defense of open inquiry in Pulp Fiction, Foucault, and education at all levels—each will be altered once such an articulation has taken place. Even as activism for the humanities and for higher the Use of the Past education gains an energized contingent in queers and the queer- friendly, so queers can demonstrate the value of destabilization, dis- junction, queerness in the projects that most deserve preservation and funding. And (in the spirit of Margery Kempel aD of us—not just the elect—can preach: each of us can embrace the project of building coalitions (those postmodern communities. and we can each partici- pate in building coalitions in which such abjected figures as queers to live in it.
    [Show full text]
  • 2017 Music Business Attendee List Renaissance Hotel, Nashville TN May 15-‐18, 2
    2017 Music Business Attendee List Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES 7digital Amazon (cont’d) Paul Langworthy Rosie de la Mare CCO Sr. Content Program Mgr. James Priestley Dave Dederer VP, Business Development Head of Programming Jamie Ross Kristin Durie Head of Music Partnerships Sr. Label Relations Mgr. John Farrey All Media Supply AssoC. Label Relations Mgr. Robbie Defreitas Josh Fein VP Sr. Mgr., Marketing & ACquisition Todd Oenbrink Chris Graham Sales Dir. Sr. Artist Relations Mgr. Sean Hallarman Alliance Entertainment Music Editorial Mgr. MarC Bartlett Jessi Liang Sr. VP, Sales & Marketing Technical ACCount Mgr. Terri Borders Nicole Lund Talent Aquisition Sr. Label Relations Mgr. Jason Bright Dan Minamide VP, Walmart ACCount Exec. AssoC. Label Relations Mgr. Ken Glaser Lisa Nicholas-RitsCher VP, Sales Content Editor, Media & Movies Thuy Ngo Elizabeth O'Brien VP, Marketing DIRECT2U Publicist Bruce Ogilvie Beth O'Brien Chairman Public Relations Laura Provenzano Amy Penka Sr. VP, PurChasing & Marketing Ops. Mgr. Jeff Walker Aly Proctor CEO Music Vendor Mgr. Ryan Redington Amazon Dir., US Digital Music Natasha Bishop Jeff Reguilon Music Sales Mgr. Mgr., Content Programming Nathan BraCkett Elizabeth Reynolds Sr. Editorial Mgr. Brand Specialist, Music Jill Chapman Kelly Rich Digital Media Ops. Mgr. Sr. Label Relations Mgr. Cindy Charles Jack Rutledge Head of Business Development Sr. Mgr., Catalog & Selection Anthony Coorey Andrew Sexton Partner Marketing Mgr. Label Relations Mgr. *speaker 1 2017 Music Business Attendee List Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES Amazon (cont’d) Apple Music (cont’d) Adam Steiner Gregory Mead Sr. Content ProduCer ProduCt Marketing David Stuart Karen Park Joh AssoC.
    [Show full text]
  • Are the “Boys” at Pixar Afraid of Little Girls?
    Are the “Boys” at Pixar Afraid of Little Girls? haseenah ebrahim “Pixar has a girl problem. —Joel Stein, Time magazine (38) Until I visited Pixar’s offices, I did not know that 12-year-old boys were allowed to run major corporations. —Joel Stein, Time magazine (37) christian metz’s observation that “a pleasure as it is to examine what elicits our film is difficult to explain because it is easy disapproval” (xvi). I also make no apology for to understand” (69) appears particularly evi- sharing those pleasures, however mitigated dent when one is teaching an undergraduate those may be by my own position as a film course on the animated feature films of Disney scholar (and as a parent). and Pixar. In a recent class taught in Chicago,1 Having taught a course on children’s and many students were taken aback when they family films since 2005 in South Africa, I found learned that the course involved historical, the aforementioned sentiment more pervasive sociological, and theoretical framing and among students in the US institution than analysis. The students, it turned out, expected among those in my home institution in Johan- little more than discussions of the animated nesburg, South Africa. The notion that this films’ plot events, some character and stylistic category of media texts is somehow excluded analysis, and the role of hand-drawn versus from ideological concerns—that the films are computer-generated (CG) animation in a film’s “ideologically empty,” so to speak—reflects popular appeal. In addition, a refrain began a widespread perception within both broader to emerge—namely, “I love Disney films, but I cultures that children’s films are just innocent, never thought of them as being ideological.” escapist fun.
    [Show full text]
  • 2017 Music Business Attendee List As of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017
    2017 Music Business Attendee List as of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES 7Digital Amazon (cont’d) James Priestley Dave Dederer VP, Business Development Head of Programming Jamie Ross Kristin Durie Head of Music Partnerships Sr. Label Relations Mgr. John Farrey All Media Supply Assoc. Label Relations Mgr. Robbie Defreitas Josh Fein VP Sr. Mgr. Marketing & Acquisition Todd Oenbrink Chris Graham Sales Dir. Sr. Artist Relations Mgr. Sean Hallarman Alliance Entertainment Music Editorial Mgr. Marc Bartlett Alex Luke Sr. VP, Sales & Marketing Dir., Global Content Programming Terri Borders Nicole Lund Talent Aquisition Sr. Label Relations Mgr. Jason Bright Dan Minamide VP, Walmart Account Exec. Assoc. Label Relations Mgr. Ken Glaser Rob Morse VP, Sales Operations Mgr. Thuy Ngo Lisa Nicholas-Ritscher VP, Marketing DIRECT2U Content Editor, Media & Movies Bruce Ogilvie Aly Proctor Chairman Music Vendor Mgr. Laura Provenzano Ryan Redington Sr. VP, Purchasing & Marketing Dir., US Digital Music Jeff Walker Jeff Reguilon CEO Mgr., Content Programming Elizabeth Reynolds Amazon Brand Specialist, Music Natasha Bishop Jack Rutledge Music Sales Mgr. Sr. Mgr., Catalog & Selection Nathan Brackett Andrew Sexton Sr. Editorial Mgr. Label Relations Mgr. Jill Chapman Adam Steiner Digital Media Operations Mgr. Sr. Content Producer Cindy Charles David Stuart Head of Business Development Assoc. Label Relations Mgr. Anthony Coorey Mary Tastet Partner Marketing Mgr. Sr. Content Program Mgr. Rosie de la Mare Laura Tulli Sr. Content Program Mgr. Music Marketing Mgr. 1 2017 Music Business Attendee List as of April 27, 2017 Renaissance Hotel, Nashville TN May 15-18, 2017 COMMERCE COMPANIES Amazon (cont’d) Apple Music (cont’d) Elan Wang Brian Pesaturo Head of Music Vendor Management Label Relations Cody Wescott Matthew Plotnik Brand Specialist, Music Head, Music Marketing Brandon Reese AMPED Technical Product Mgr.
    [Show full text]
  • Explicit Content: a Discussion of the MPAA Film Rating System and the NC-17 Rating Caroline H
    Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2015 eXplicit Content: A Discussion of the MPAA Film Rating System and the NC-17 Rating Caroline H. Miller Scripps College Recommended Citation Miller, Caroline H., "eXplicit Content: A Discussion of the MPAA Film Rating System and the NC-17 Rating" (2015). Scripps Senior Theses. Paper 582. http://scholarship.claremont.edu/scripps_theses/582 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. EXPLICIT CONTENT: A DISCUSSION OF THE MPAA FILM RATING SYSTEM AND THE NC-17 RATING by CAROLINE HOSMER MILLER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR FRIEDLANDER PROFESSOR MACKO DECEMBER 12 TH , 2014 Wayne Kramer (director, The Cooler (2003))—I remember what happened, I was just going into a meeting and I got a phone call and it was the producer of the film saying 'guess what, we just got an NC-17 from the MPAA' and I went 'Oh sh*t,' and so I said 'Was it for that first scene?' And they said 'No it was because there was a glimpse of Maria's pubic hair in the second scene' and I was just like 'What?!' Maria Bello (actress, The Cooler )—Just a couple of months before, I had gone to see a horror film [Scary Movie] that was rated R.
    [Show full text]