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A Multi-Level Analysis of Songwriter Career Strategies by Rachel S
Changing Patterns of Cooperation in Occupational Communities: A Multi-Level Analysis of Songwriter Career Strategies By Rachel Skaggs Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in Sociology August 10, 2018 Nashville, Tennessee Approved: Daniel B. Cornfield, PhD Shaul Kelner, PhD Joshua Murray, PhD Copyright © 2018 by Rachel Skaggs All Rights Reserved ii To my father, Donnie Skaggs, who I’ve watched pursue his songwriting dreams. To my mother, Rose Skaggs, who supports his dreams and mine. To David Carlson. His dreams and mine are intertwined. iii ACKNOWLEDGMENTS It is an overwhelming task to think of all of the support that people have given me in support of this dissertation. My dissertation is about collaboration, and I have been unmeasurably lucky to have collaborated with wonderful people. I want to begin by thanking every songwriter I interviewed. Without their trust and insight, I could not have conducted research that is as compelling, touching, and important as the project that has emerged. The generosity and openness of these people, most of whom were total strangers to me, is inspiring. Next, I must acknowledge the support of the Robert Penn Warren Center for the Humanities. As a dissertation fellow at the Warren Center, I was able to truly develop my ideas and focus on the work of writing a good dissertation. My fellow fellows at the Warren Center challenged me and supported me. Danielle Picard, Wietske Smeele, Sara Kollner, Alexandra Alekseyeva, David Vila, and James Phelan all contributed to the ways I think about my own work as I try to present it in a manner that is intelligible and meaningful to an interdisciplinary audience. -
“Amarillo by Morning” the Life and Songs of Terry Stafford 1
In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. -
The Evolution of Commercial Rap Music Maurice L
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research. -
Selling Or Selling Out?: an Exploration of Popular Music in Advertising
Selling or Selling Out?: An Exploration of Popular Music in Advertising Kimberly Kim Submitted to the Department of Music of Amherst College in partial fulfillment of the requirements for the degree of Bachelor of Arts with honors. Faculty Advisor: Professor Jason Robinson Faculty Readers: Professor Jenny Kallick Professor Jeffers Engelhardt Professor Klara Moricz 05 May 2011 Table of Contents Acknowledgments............................................................................................................... ii Chapter 1 – Towards an Understanding of Popular Music and Advertising .......................1 Chapter 2 – “I’d Like to Buy the World a Coke”: The Integration of Popular Music and Advertising.........................................................................................................................14 Chapter 3 – Maybe Not So Genuine Draft: Licensing as Authentication..........................33 Chapter 4 – Selling Out: Repercussions of Product Endorsements...................................46 Chapter 5 – “Hold It Against Me”: The Evolution of the Music Videos ..........................56 Chapter 6 – Cultivating a New Cultural Product: Thoughts on the Future of Popular Music and Advertising.......................................................................................................66 Works Cited .......................................................................................................................70 i Acknowledgments There are numerous people that have provided me with invaluable -
The Youtube Effect: How Youtube Has Provided New Ways to Consume, Create, and Share Music
International Journal of Education & the Arts Editors Margaret Macintyre Latta University of Nebraska-Lincoln, U.S.A. Christine Marmé Thompson Pennsylvania State University, U.S.A. http://www.ijea.org/ ISSN 1529-8094 Volume 12 Number 6 July 8, 2011 The YouTube Effect: How YouTube Has Provided New Ways to Consume, Create, and Share Music Christopher Cayari Johns Hill Magnet School, U.S.A. Citation: Cayari, C. (2011). The YouTube effect: How YouTube has provided new ways to consume, create, and share music. International Journal of Education & the Arts, 12(6). Retrieved [date] from http://www.ijea.org/v12n6/. Abstract This case study about a teenage musician, Wade Johnston, suggests how YouTube has affected music consumption, creation, and sharing. A literature review connects education, technology, and media. Informal learning, digital literacy, and twenty-first century technology are also connected in the review. Data reveals how Wade started his channel, gained popularity, interacted with others, and promoted his musical career through YouTube. Original songs, covers, collaborations, documentaries, self- interviews, video blogs (vlogs), and live performances are observed by the researcher. Interviews with the subject, key actors in his life, fans, and first time listeners were transcribed and results were used to triangulate. Previous musical media research is expanded upon to include YouTube and video sharing. The idea of amateur and professional musician, musical venue, and audience member are being changed through YouTube. Current practices of how YouTube is used in the classroom are discussed, and future research is suggested. IJEA Vol. 12 No. 6 - http://www.ijea.org/v12n6/ 2 Background Teens evidently don’t see computers as technology. -
Human Rights in Sweden: the Breakthrough of an Idea
Human Rights In Sweden: The Breakthrough of an Idea JACOB W.F. SUNDBERG* TABLE OF CONTENTS I. THE EUROPEAN SYSTEI OF HuMoAN RIGHTS 951 A. The American Influence 951 B. The European Approach 954 C. The Lawyer's Approach 955 D. Nothing Succeeds Like Success 958 II. SWEDEN AND THE EUROPEAN CONVENTION 960 A. The Periodof No Complaints 960 B. The Periodof Massive Complaints 961 Ill. THE ExTERNAL HISTORY OF THE CONVENTION IN SWEDEN 961 A. A Fit of Absentmindedness? 961 B. Importance of the ForeignMinister, Professor Undin 962 C. The Declaration Under Article 46 963 D. The Greek Case 964 E. The Crisis of the 1970s 965 F. The Adverse Judgments of the 1980s 968 IV. THE INNER HISTORY OF THE CONVENTION IN SWEDEN 970 A. The PhilosophicalBackground 970 B. The Secret Marriage 972 C. Professor Undin and Human Rights 974 D. The Swedish Silence 976 V. THE SucCEss OF AN IDEA 978 A. The Change Summarized 978 B. Irresistibility of the Lawyer's Approach 978 C. The European Limelight 979 D. Room for a PluralistDoctrine of Precedent 980 E. Does It Pay To Argue The Convention? 981 F. Conclusions 982 I. THE EUROPEAN SYSTEM OF HUMAN RIGHTS A. The American Influence In order to understand the American contribution to the European system of human rights,' it is necessary to go back to the situation at the close of the Second * Professor of Jurisprudence, University of Stockholm; Director of Studies, Institutet for offentlig och internationell r-tt, Stockholm. 1. Among the early literature on the European Convention on Human Rights, see generally RoBEsroN, THE LAw OFINERNA1ONAL INtTr.ONS m EUROPE(1961); Coblentz & Warshaw, European Convention for the Protection of Human 952 OHIO STATE LAW JOURNAL [Vol. -
“Amarillo by Morning” the Life and Songs of Terry Stafford 1
In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. On Billboard magazine’s April 4, 1964, Hot 100 2 list, the “Fab Four” held the top five positions. 28 One notch down at Number 6 was “Suspicion,” 29 by a virtually unknown singer from Amarillo, Texas, named Terry Stafford. The following week “Suspicion” – a song that sounded suspiciously like Elvis Presley using an alias – moved up to Number 3, wedged in between the Beatles’ “Twist and Shout” and “She Loves You.”3 The saga of how a Texas boy met the British Invasion head-on, achieving almost overnight success and a Top-10 hit, is one of triumph and “Amarillo By Morning” disappointment, a reminder of the vagaries The Life and Songs of Terry Stafford 1 that are a fact of life when pursuing a career in Joe W. Specht music. It is also the story of Stafford’s continuing development as a gifted songwriter, a fact too often overlooked when assessing his career. Terry Stafford publicity photo circa 1964. Courtesy Joe W. Specht. In the early months of 1964, on their inaugural tour of North America, the Beatles seemed to be everywhere: appearing on The Ed Sullivan Show, making the front cover of Newsweek, and playing for fanatical crowds at sold out concerts in Washington, D.C. and New York City. -
Warner Music Group Senior VP New Business & Ventures Alex Kamins
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayMARCH 12, 2021 Page 1 of 33 Leader; Travis Denning Makes History INSIDE Executive of the Week: Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music GroupWarner Nashville), debuts at No. Music 1 on Billboard’s lion Group audience impressions, Senior up 16%). VP New Top Country• Fare Play: Albums Could chart dated April 18. In its first week (ending April 9), it earnedSoundCloud’s 46,000 equivalent User- album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingCentric to Nielsen Streaming Music/MRC Data. Business & Venturesand total Country Airplay No. Alex 1 as “Catch” (Big Kamins Machine Label Group) ascends SouthsidePayouts Catchmarks On?Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chart and fourth top 10. It follows freshman LP BY DAN RYS Young’s first of six chart entries, “Sleep With- Montevallo• Are Real, which MCs arrived in at the summit in No - out You,” reached No. 2 in December 2016. He vemberGermany 2014 and Getting reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You Over the weekend, Atlantic Records band Why Don’t senior vp new business and ventures Alex Kamins — MontevalloFake hasStreams? earned 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved million in album sales. -
MBW Yearbook
2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018YEARBOOK 2019 2019 2019 2018 20182018/2019 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018Brought to2019 you by 2019 2019 2018 2018 2018 2019 2019 2019 2018 2018 2018 2019 2019 2019 1 2 3 Are you making the most of your success? Our efficient international payments, transparent foreign exchange and smart treasury management services will help you and your artists realise your global ambitions. +44 (0)20 3735 1735 | [email protected] | CENTTRIPMUSIC.COM Centtrip Limited is authorised and regulated by the Financial Conduct Authority (FCA) as an Electronic Money Institution (EMI). Our firm reference number is 900717. For more information on EMIs please visit the FCA’s website. The Centtrip Prepaid Mastercard is issued by Prepaid Financial Services Limited (PFS) pursuant to a licence from Mastercard International Incorporated. PFS is also authorised and regulated by the FCA as an Electronic Money Institution (firm reference number 900036). Their registered address is Fifth Floor, Langham House, 302–308 Regent Street, London W1B 3AT. 4 5 Contents Lyor Cohen, YouTube 08 Dre London, London Ent 16 David Joseph, Universal Music 24 Carolyn Williams, RCA 32 Paul Rosenberg, Goliath Artists/Def -
The French Experience of Counter-Terrorism 67 the French Experience Of
The French Experience of Counter-terrorism 67 The French Experience of Counter-terrorism ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Jeremy Shapiro and Bénédicte Suzan On the evening of 3 October 1980, a motorbike was parked outside the synagogue on the Rue Copernic in an upscale section of Paris. Several minutes later a bomb packed into the motorbike’s saddlebags exploded, killing four passers-by and wounding 11. It was the sixth and most serious attack on a Jewish target within a week. The bombing sparked a protest rally in Paris against anti-Semitism and intensified debate about the influence of the neo-Nazi movement in France, which the authorities blamed for the wave of attacks. In fact, as the investigation would reveal in the coming weeks, Middle Eastern terrorists had perpetrated the wave of bombings. The attack at Rue Copernic was eventually seen as the opening salvo in a long campaign by foreign terrorists whose purpose was to influence French policy in the Middle East.1 None of the various French intelligence and police agencies had given any warning that such attacks were imminent or even possible. They were, moreover, unable to immediately identify the attacks as coming from foreign terrorists, despite the perpetrators wanting them to know. Nearly 20 years later, on 14 December 1999, an Algerian named Ahmed Ressam was arrested on the US–Canadian border with a trunk full of explosives intended for use in an attack on the Los Angeles International Airport. Ressam grew up in Algeria, resided in Canada and plotted attacks against the United States, but despite having few French connections, French authorities knew who Ressam was and what he intended. -
The Music Producers´ Role in a Digital Era
The Music Producers´ Role in A Digital Era “An understanding of a how digitalization and the development of the producers’ role over time, has affected the labor practices of the producer and the dynamics between different parts in the industry.” MARION SKOGSETH BJØRSVIK SUPERVISOR Daniel Nordgård University of Agder, 2018 Faculty of Fine Arts Department of Popular Music Abstract As we all know the Music has been through quite a shift due to the digitalization both in business models and the way it is structured. There has been little research on the way these changes have affected the specific professions within the industry. This paper aims to look at how these changes have affected the Music Producers labor practices, and how the dynamics between the different parts in the industry has changed. It also aims to look at why it has happened, and what it has led to. The paper concludes with the fact that there is a lot of structural changes that has forced the producers to work different in order to stay relevant. Based on semi-structured interviews with informants that work as producers professionally, the paper finishes with a discussion part where the most interesting findings are being linked up to relevant theory within the field. 1 Acknowledgements Thank you to Trevor, Gary, Bjørn Ole and Christer for telling me your story and how these changes has affected your work practice. And to Daniel Nordgård for giving me good advices along the way. Thank you to my partner, and my family for always believing in me, and for making it possible for me to go through with my higher-education. -
An Empirical Contribution to the Metacognition of Reading Comprehension
DOCUMENT RESUME ED 381 773 CS 012 132 AUTHOR Persson, Ulla-Britt TITLE Reading for Understanding: An Empirical Contribution to the Metacognition of Reading Comprehension. Linkoping Studies in Education and Psychology Dissertations, No. 41. INSTITUTION Linkoping Univ. (Sweden). Dept. of Education and Psychology. REPORT NC ISBN-91-7871-440-0; ISSN-1102-7517 PUB DATE 94 NOTE 2480. PUB TYPE Reports Research/Technical (143) Books (010) EDRS PRICE MF01/PCIO Plus Postage. DESCRIPTORS Comparative Analysis; Foreign Countries; Grade 5; Grade 8; Intermediate Grades; Junior High Schools; *Metacognition; *Reading Ability; *Reading Attitudes; *Reading Comprehension; Reading Research; Student Attitudes IDENTIFIERS Sweden; Text Processing (Reading) ABSTRACT A book-length study described the metacognitive components of good and poor reading ability, with special reference to comprehension. Subjects were 53 Swedish students in grade 5 or 8 and were either good or poor comprehenders as defined by a combination of a reading test and teacher ratings. Data collection consisted of semi-structured interviews and the recall of three texts with different structures. Results indicted that:(1) good readers organized their knowledge and used it appropriately;(2) gocd readers' cognitive and metacognitive abilities were well integrated. whereas the pattern of functions in poor readers seemed distorted; (3) poor readers were less confident than good readers--they regarded themselves as poor learners and their verbal responses were less elaborate;(4) poor readers' decoding was often not automatic, leaving less capacity for comprehension; (5) the gap between good and poor readers widened from grade 5 to grade 8, as more independent reading was expected of students; and (6)the younger students believed they would improve, the older students lost interest in studies.