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The song is an anthem for people dealing with adversity. At the end of the song, the audience was on its feet. He seemed most affected by the moment. He looked victorious, teary-eyed, even a bit reluctant to leave the stage.
Now, he and Chely Wright are the two most commercially successful Nashville country music stars to come out not counting k. Both fans and country stars, such as Leann Rimes, have come out in support of Herndon.
The song was cowritten with two of her frequent collaborators, Shane McAnally and Brandy Clark, both of whom are gay.
2016 IASPM-US & Canada Annual Conference Program
In addition to her debut album last year, she has written songs for numerous artists, including Billboard chart-toppers for Miranda Lambert and The Band Perry. Reportedly, many radio station managers have said they wished they could play it.
They may be underestimating their audience. Coming out for me and my queer classmates meant turning to music that resonated with us. And that was new wave and British synthpop. But every so often I sought out the country music end of the radio dial. Along the way I noticed something: Lesbian folk singer-songwriters are often country hybrid artists. All that Jesus, patriotism, and family came packaged with an unwelcome underlying message.
In general, this case addresses the issue of artistic convergence in popular culture. Beyond this single group, this paper will explore the modern combinations of the Texas-Mexican ethnic heritage with punk music.
Erin Bauer holds a Ph. Her research examines the recent worldwide spread of Texas-Mexican accordion music, called conjunto.Relationship Advice with Miranda Sings
Tokarev became famous for his depictions of immigrant life in the city, addressing the difficulties of assimilation with characteristic wit.
I argue that Tokarev created a musical product that negotiated the experiences of this collective under the Soviet regime within an American context.
Edinburgh 2014 review: Shame – genre-blending hour less ordinary
In doing so, he presented the community with a musical strategy—a way of understanding itself in a new, radically different social context. Her research interests cross the tenuous divide between musicology and ethnomusicology, and include popular music in the Soviet Union, music and politics, and Ukrainian nationalism.
This paper will address three key issues: Music and Labor Professional Faculties Rm. Work Hard, Play Hard: Ironically, still according to Ho, the self-serving nature of this ideology can be best seen in the increasing destructiveness of each recurring crises —,and — which ultimately end up undermining those very values that neoliberalism professes to uphold. Marco Accattatis is a New Jersey based musician, educator, and scholar. D student in musicology at Rutgers University he is interested in the philosophical, psychological, and sociological imbrications of mass mediated musics with the public relations industry, technology, and violence in the contemporary United States.
On his way down, the elevator suddenly dropped more than 30 floors and became stuck. Chen was unable to get out for 81 hours. Through the use of contrasting styles traditionally associated with different non-Asian-American races and audiences—traditional musical theater songs and hip hop—Au Yong and Jafferis brought out such issues as the relationship between race and citizenship, the diversity within the Asian American community, the relationship between Asian Americans and Latinos, the history of Chinese labor in the United States, the reliance of Americans on undocumented immigrants, and the representation of racial minorities in American theater.
Ultimately, I argue that this work is both a form of public musicology and an alternate form of protest music—one that emphasizes history and context over immediate action. By getting the audience to sympathize with the plight of an undocumented Chinese immigrant in New York, Stuck Elevator asks audiences to reconsider common phobias and deeply held beliefs about the Asian American community. Current projects include a book on cultural trauma in Asian American music, and an edited volume on Public Musicology.
Hung is also an active pianist, Balinese gamelan musician and conductor. Of course, the predominance of technological determinism was balanced by other researches that have shown that these transformations were not caused by digital technologies solely, but also by legal as well as political changes, for example. Second, it looks at the mechanisms—for example: Who runs the music industries, what are the movements of workers that organized them and how these movements are regulated and channelled?
His research focuses on the practices of local cultural organizations that articulate politics, industries, artistic practices, music genres, audiences and workers.
Aesthetics and Ideologies Professional Faculties Rm. Using frameworks of dystopian dark tourism Podoshen et al.
Edinburgh review: Shame – genre-blending hour less ordinary | Stage | The Guardian
He completed his PhD dissertation at UVa in The dissertation investigates Ambient music through histories and analyses of key recordings from — His work also appears in the Journal of Popular Music Studies. In the 90s, fans began using digital technology and the Internet to develop increasingly sophisticated techniques for compressing and streaming high fidelity audio.
In this paper, I explain the significance of amateur recording and engineering in terms of two areas increasingly relevant to popular music studies: Re-engineering recordings allows fans to share, collaboratively develop, and integrate knowledge of musical and technological spheres.
By comparing the techniques and aesthetics fans use to make matrix tapes to the ways that studio and live recording engineers use ambient microphones to index the live experience and to add dimension to modern multi-track mixes, I show how fans have influenced professional audio production.
D in ethnomusicology from Brown University in May The Grateful Dead, Phish, and Jambands. We Came to Blow Your System: Their first Epic album, The Money Storedid well and the band appeared to be settling into a profitable and productive relationship with the company.
Epic Records seemed willing to try unprecedented steps in marketing the band, making a deal with a file-sharing service for the free distribution of some of Death Grips material. Yet in Death Grips stunned the record company and industry observers by releasing their second album, No Love Deep Web, online, for free, and without authorization from the label, months before its planned release.
Despite this breach of contract, this radical disobedience, Epic Records did not seek to enforce their contract or sue for damages, what record companies have done for decades in the face of this kind of resistance. Instead, surprisingly, Death Grips were released from their contract and allowed ownership of their recordings.
The paper examines these tensions by employing a four-way framework, distinguishing between the pre-internet and post-internet record industry as well as between independent and major label practices of both eras. His research involves cultural labour, disobedience, and intellectual property. Laval,qui porte sur la chanson country-western.
Kimberly Mack, moderator The Rosary and the Microphone: The band utilizes various strategies for negotiating its place in the world as a global band—and mediated brand—and as a manifestation of a kind of cosmopolitanism, or global care, and desire for far-reaching and inclusive social justice initiatives.
This brand is expressed by a global concern, or cosmopolitanism, that looks outward and seems to draw others to do the same.
This paper takes as its model the analysis by David Pattie in his book, Rock Music in Performance, in which the stage itself is a site of meaning-making. For U2, the stage is an important site of engagement with their fans: The concert is especially pertinent in that it acts as a politically charged site for global sentiments after the Paris terrorist attacks in Novemberwhich included a mass shooting at the Bataclan concert hall.
Inciting a Joyful Rebellion: Every Day A Pioneer: Aging Artists and Hip-Hop Legacies Murray Forman This presentation focuses on aging hip-hop artists as they assess their status as pioneers and veterans in hip-hop culture. Theoretically grounded in critical age studies A. And basically what we want is to be recognized for the contribution to this art form, this legacy that we have.
We want to be recognized for it. The Hip-Hop Studies Reader 1st edition ; 2nd edition, The authors facilitate these workshops designed to offer participants with different music backgrounds and even more contrasting social locations and life trajectories, the basic knowledge of the equipment, software and technical skills necessary to undertake their own audio recording and editing project — be it vocal ensemble pieces of folk music, spoken word, poetry driven compositions, or field recording based soundscapes.
We explore how negotiating age and ageing in connection with music and technology involves navigating, challenging and rendering visible norms, expectations and prescriptions as re configured subjects and objects acquire new agencies. He is also a musician and composer who has been a central figure in the Montreal music scene for the past two decades.
This is particularly true when considering the value offered aging performers. In such a setting, positive considerations of aging are rare. Indeed, within musical theater, as in other forms of entertainment, decline is implied as an absolute condition of aging. The Senior Follies movement, on the other hand, counters this decline narrative by granting value and purpose to aging performers through a Ziegfeld-inspired musical variety show.
In cities across America, the Senior Follies creates a musical and theatrical space where aging performers can regain a place within musical theater and challenge prevalent agist stereotypes. Jake Johnson is a cultural historian of American musical experiences. A Music-Centered Journal, Dialogue: Workshop Murray Fraser Hall Rm.
Public Scholarship as Social Justice: When we make our research more accessible by publishing in widely-read publications, we can play a more active role in advocating for social justice and speaking out about inequality. Additionally, for scholars who work at the margins of academia including adjunct faculty, independent scholars, etc. Ultimately, such participation is about accessibility, which is a central concern of this publication workshop.
Through this minute workshop, we will encourage IASPM members to explore the activist potential of scholarship through accessible publication. We will challenge participants to question the institutional hierarchies that have historically limited participation in scholarly conversations about music, and empower participants to take action by producing public-facing scholarship that enables access and participation.
Popular music scholars have a unique advantage in approaching public-facing scholarship: Furthermore, popular music scholars are well-positioned to make valuable contributions to the vital debates about popular music, politics, and social justice occurring in online and print media. In so doing, we can not only make our research more accessible, but also make space in scholarly conversations for voices from beyond academia. Apolloni, who has written about music, race, and gender for a number of online publications including The Toast and Hippo Readswill discuss how to find publication opportunities and how to pitch story ideas to editors.
Using examples of successful pitches, she will demonstrate how scholars can draw out stories from research projects that connect to current social concerns and political events.
For this workshop, Apolloni will focus on how participants can use skills developed in academia — including researching and paper abstract writing — to their advantage in the pitching process. Workshop attendees will be encouraged to participate in a live sample pitch-drafting session that explores how to connect stories from our research to stories in the headlines.
Alexandra Apolloni is a freelance writer and musicologist. She is currently working on a book about girl singers in s London. Furthermore, some publishing opportunities beyond academia offer authors compensation for their work. To these ends, Miyakawa, co-editor of The Avid Listener a publishing venue that compensates authorswill discuss how she works with authors to develop writing voices suitable for a general audience.
The Avid Listener is dedicated to accessibility on a number of fronts, believing fully that providing access to intellectual conversations is useful for everyone, not just specialists.
TAL is a free resource, and authors are encouraged to link to supporting literature that is freely available. More importantly for this workshop, TAL hosts scholarly discussions in prose accessible to experts and laypersons alike. For this workshop, Miyakawa will walk participants through the developmental process with the use of essays already published on TAL, and will discuss best practices of writing for a general readership.
Miyakawa is co-editor of The Avid Listener, a music history blog hosted by W. Norton written for scholarly audiences in accessible, engaging prose. She left her tenured position in and now works as an independent scholar, freelance editor, and academic consultant. She blogs at FMMiyakawa.
The Miranda Sings character is an arrogant, narcissistic and delusional teenager who sings and dances badly, gives out dubious advice and responds to hate mail.
As Miranda she sings ludicrously flat or sharp, with idiosyncratic pronunciation and phrasing. As Colleen, her voice is professional and trained and she skillfully sings in tune with tasteful execution. During live appearances, Evans stages the transformation from Colleen to Miranda and back again in front of the audience, transforming mid-song.
This heightens the sense of artifice, and arguably constitutes the climactic bookends of her live presentation. Mike Daley is an adjunct professor in the department of music at York University in Toronto. Mike has also toured the U. The band and company placed the album, for free, in the music libraries of over million iTunes users — whether they wanted it or not. Maybe this PR misstep was just a case of U2 and Apple being out of step with contemporary listening tastes. But I argue the episode speaks to a much deeper issue: Accordingly, this paper looks at how streaming services and other new formats i.
While these new formats offer possibilities for novel musical experiences, they also blur the lines between what is owned and what is streamed, between what is permanent and what is temporary.
If libraries are sources of identity formation, self-expression, and tools for communication, then these too become contingent. BogostBurkartLeyshon this paper explores why, in an era where we have ever-greater access to scores of musical content, the music we own is becoming less and less ours. His research interests include the digitization of cultural goods and the current state of the popular music industries.
Escaping to Become Myself: Aural Constitution of Identity and Reality of K-Pop Fans in a Virtual Environment Cody Black, University of Toronto Cornel Sandvoss suggests that since an object of fandom is external to oneself, the fan must build an intense identification with that object in order to construct their self-identity in relation to that object. In this paper, I observe this consumptive relationship through the acts fans of Korean popular music K-Pop undertake in their striving to identify with K-Pop idols.
Drawing from my ethnography of online K-Pop fan communities, I specifically highlight fans who play Mstar Online with the intention of becoming a virtual K-Pop idol. By specifically concentrating on game sound interaction within the literary canon of the phenomenology of perception Merleau-Ponty and environmental immersion CsikszentmihalyiI argue that Mstar Online provides a systematic platform where immersive sound interaction helps construct a multi-sensory field where fan-based strivings can be experienced as fully real.
I support this claim through analysis of two prominently cited music-related experiences gamers encounter in Mstar Online: Cody Black recently completed his MA in Ethnomusicology at the University of Toronto, and is currently a research fellow in anthropology at the Academy of Korean Studies. His research primarily focuses on the intersection between K-Pop fandom, consumption, neoliberalism, and the techno-mediated modes of escape in everyday life.
Out of Sight, Out of Mind: Reading a newspaper or magazine in the form of bytes and lights, for example, appears self-evidently less resource intensive than reading something made of ink and paper.
Likewise, commonsense suggests that streaming music as a digital file represents an eco-friendly step forward, compared to the more tangible recording formats that have been made and trashed by the billion since Yet emerging research, in cultural studies as much as industrial ecology, confirms that the online media industries are substantial users and wasters of natural resources.
Popular music is complicit in all these developments—but we do not yet know the details or the extent of its complicity. This presentation draws on interviews with employees at music streaming and subscription services in order to gauge awareness of the energy intensive character of such listening practices.