#digital jukebox rental

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Bringing the party to you! We specialize in making your event unforgettable with top-notch entertainment services. Let us make your celebration one to remember with Trez Entertainment!

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Unearthing Nostalgia: Exploring the History and Fun of Jukebox Hire in Sydney

A Delightful and Participatory Musical Experience

In an era of digital streaming and personalized arrangements, the nostalgic appeal of jukeboxes may seem obsolete. Nevertheless, these legendary music-playing devices continue to captivate hearts and minds, eliciting memories of bygone eras. In restaurants and dance venues, jukeboxes were once the focal point of social gatherings, providing a delightful and interactive musical experience. In this article, we will explore the intriguing history and enduring appeal of Sydney jukebox rental. Jukeboxes continue to appeal to music enthusiasts of all ages due to their vintage appeal and modern adaptations, such as the availability of speaker hire in Sydney and illumination hire. The era of golden jukeboxes

During the middle of the 20th century, jukeboxes reached their zenith of popularity, becoming an integral part of American culture and extending their influence internationally. Here are some of the reasons why the golden era of jukeboxes was so captivating:

Jukeboxes provided customers with access to a vast selection of songs, allowing them to select their preferable tracks and providing an interactive musical experience.

As a result of the proliferation of jukeboxes, which attracted people from all walks of life, restaurants, taverns, and dance halls were transformed into thriving social centers.

The retro design of jukeboxes with their colorful lights and chrome accents conveyed a sense of elegance and style.

A Contemporary Twist on Jukebox

Although the golden era of jukeboxes has passed, their legacy lives on in Sydney through jukebox rental. Here's how jukeboxes add a dash of nostalgia and contemporary merriment to events:

Jukeboxes elicit a sense of nostalgia and charm that can enhance the atmosphere of any occasion by adding a unique and vintage touch.

Versatility: Jukebox rental services in Sydney offer a broad variety of musical genres, from the classics to the most recent hits, ensuring a playlist that caters to all preferences.

Guests are able to choose their beloved songs and dance to the beat of the music, creating an interactive and engaging environment.

The Entertainment Value of Jukebox Rentals with Speaker and Lighting Services:

Combining jukebox rental with speaker rental in Sydney ensures superior sound quality, flooding the venue with rich, vibrant music.

Ambient Atmosphere: Sydney lighting hire can be used to create an enchanting atmosphere, enhancing the retro appeal of the jukebox and setting the stage for an unforgettable experience.

With a jukebox, a speaker, and a lighting system, you can turn any event into a dance party where guests can dance the night away to their beloved songs.

Conclusion

Jukebox rental in Sydney is more than a nostalgic journey; it is a celebration of music, nostalgia, and the pleasure of shared experiences. From the golden age of jukeboxes to the modern variation of speaker hire and lighting hire, these musical marvels continue to captivate hearts and offer an interactive musical experience.

As we delve deeper into the allure and thrill of jukebox hire in Sydney, we are reminded of the power that music has to bring people together and create enduring memories. Let a jukebox rental serve as the soulful focal point of your upcoming event by adopting its timeless charm and modern convenience. With the perfect blend of nostalgia and modern entertainment, jukeboxes, along with speaker and lighting hire services in Sydney, will transform any event into a magical celebration filled with laughter, dancing, and the enchantment of music.

[jukeboxhireinsydney]

Digital Karaoke & Jukebox Hire Sydney - Event & Party Book Now!

If you're looking for a dependable and user-friendly karaoke solution for your next party, Just in Sydney Jukeboxes is your best bet. Because they deliver right to your door, you won't have to move heavy items or fiddle with complicated controls.

Their team of experts will deliver the jukebox to your front door and help you set it up so you can start belting out your favorite tunes as soon as possible. Also, they provide a wide variety of tunes from which to choose, so everyone at your party is bound to find something they like.

With Just in Sydney Jukeboxes' reasonable rates and helpful staff, throwing a great party or Karaoke Hire Sydney has never been easier. So, there's no reason to wait. Don't hesitate to book your table and practice your vocals.

Are You a Jukebox Enthusiast? Looking to Book Sydney for an Important Occasion? Okay, So Let's Have a Chat

Looking for a Sydney Jukebox Rental? We're here to assist you at this time. The jukeboxes we hire out are the center of attention at any gathering. We've done this before, and we know how to make your event shine.

Our friendly staff will work with you every step of the way to tailor your rental to your specific needs. From the time you first get in touch with us until the final piece of equipment is set up and running, we've got you covered.

We're proud to offer a reasonable price that doesn't sacrifice quality. If you're planning a party with music, consider renting a jukebox from us in Sydney.

Is takeoff imminent? Please contact us right away so that we can discuss how the rental of one of our high-quality jukeboxes will enrich your future event.

A jukebox is space-saving and inexpensive

Finding suitable lodging is a problem that can arise when planning a musical event. Not everyone has access to a spacious, unoccupied place where they can set up shop. A leased jukebox comes in handy at times like these. Unlike traditional sound systems, which require multiple speakers, amplifiers, and wiring, jukeboxes may provide high-quality music with just one or two components.

Instead of purchasing individual components for a home stereo system, it is more cost effective to rent a jukebox. For the time period of your event, you will have access to the rented amplifier, speakers, microphone, and remote control.

Furthermore, jukeboxes feature an extensive music library. You won't have to settle for prepackaged playlists or hire DJs who might not have a large choice of songs available because most jukeboxes come with an enormous music collection.

Everyone loves a jukebox

A jukebox is more than just a means to play music; it's a time-honored form of social entertainment. Consider Sydney Jukebox Hire for your next party or event, whether it's a business gathering or a birthday bash, if you want your guests to have a nice time and relax.

One of the best features of a jukebox is that everyone in attendance at your next party can play it. Guests can select their favorite song from the machine's enormous music library with the push of a button. Music fans with varying levels of technical expertise can use it with ease.

Another reason jukeboxes remain popular is that they feature music suitable for everyone's tastes. Your guests will be able to select from a wide range of musical options, including classics, current hits, and even country ballads, all from the convenience of the machine.

Unlike when you hire a live band or a DJ, who may only play certain sorts of music, with a jukebox in Sydney, you get to choose every song that plays. You can't say the music isn't for you just because you don't like techno or hip hop; there's a wide variety of styles represented.

When it comes to entertaining a big number of people at once, nothing beats a beautiful vintage Jukebox playing music from the golden era of partying.

Reasons Why Renting a Jukebox Will Make Any Get Together More Fun

Is it your goal to throw a dance party, but you're not sure how to get everyone up and moving? Renting a jukebox might be the answer! Justifications are as below.

To begin, a jukebox has the ability to transform any event into an instant throwback. Its classic design and nostalgic feel will make it the talk of the party. It's not just a lovely face; the sound quality and overall experience it provides are unmatched by modern audio equipment.

Second, jukeboxes are extremely user-friendly. In contrast to modern sound systems or DJ equipment, a jukebox may be used by anyone with a little bit of luck. Your site's guests don't have to be music connoisseurs to enjoy the playlist you give and vote for their favorites.

The most convincing case for using a jukebox at social gatherings is that it may bring people together through a shared musical experience.

Your guests will bond over their shared love of music and have a great time doing it when you make them take turns picking the playlist. You can now throw a better music celebration by taking use of all three of these advantages of Jukebox Hire.

[sahibnoorsingh]

GEMM Productions offer Commercial Digital Jukebox rental in Dubai, UAE both short term and long term, Call us on +971 6767 2976.

[seoexpertintheworld]

Digital Jukebox rental UAE Commercial Jukebox rental UAE GEMM Productions offer Commercial Digital Jukebox rental in Dubai, UAE both short term and long term, Call us on +971 6767 2976.

[pumphousepartyhire]

Perfect Photobooth and More for Your Choice

First and foremost, do you need digital images? If you answered no, then a polaroid booth with background may be a good choice for you to consider. With that stated, in this day and age, it is easy to have those pictures saved in digital format so that they will endure in perpetuity. You will also have the choice to print and magnify certain images that you find to be hilariously incredible. 

Additionally, it may be impossible to connect a printer at the event, so you will be limited to digital pictures. If you go with Jukebox hire in Sydney, then this service comes perfect.

Using the services of a picture booth

What queries should you put to them? If you decide to employ a photo booth service, there are many things you should ask the business that will be delivering the service to ensure that you are receiving the best quality service possible. All of these factors as described combine to make the expense of employing a service well worth it.

Do you get both digital pictures and paper copies of your work?

A reputable photo booth rental business will provide you with both digital pictures and printed copies of the images for your guests to take home after the event. The photobooth hire in Sydney is the best.

How many physical copies will be produced for attendees at the event?

It is customary for more than one individual to be photographed in a photo booth, making it necessary to have at least two copies made during the event. How many photographs are taken during a single session? Some photo booths may only take three photos each session, while others may take more. Others take six photographs each session, so you receive more photos for your money and the visitors have more fun with six photographs. Additionally, if the photo booth provider takes six photos each session, you will get additional digital pictures after the event. You can opt for services like lighting hire in Sydney as well.

If you have an iPad, you may not be able to print anything because of its limitations. This is where hiring a business that is specialized in photo booths for your event may be the best option for you to consider. The proper photo booth service will enable you to obtain both printed copies for your guests to take home and digital copies that are of excellent quality during your event.

[mostlysignssomeportents]

#15yrsago Ebook column that gets it all wrong

Gizmodo has a new column called "Feature Creep," and they kicked it off with an editorial about the future of ebooks that is striking for its complete disregard for the actual marketplace experiences with ebooks. It's full of hoary chestnuts about ebooks that have been emptily mouthed for 10 years ("Call it digital paper or electronic ink, it's the future of eBooks.") and aside from the occassional iPod comparison, there's hardly a paragraph in there that couldn't have been written in 1997 -- nor one that takes note of any of the events since  then.

Take DRM. The author asserts on the one hand that DRM can work, and that it won't be so invasive that it turns off readers (whom the author insists on calling "consumers," an odious buzzword that invokes Gibson's description in Idoru, "...a vicious, lazy, profoundly ignorant, perpetually hungry organism craving the warm god-flesh of the anointed").

This despite the actual marketplace fact that all DRM becomes invasive (ask any copyright policy maker in a country that allows parallel importing how he feels about the "lightweight" region-coding DRM on DVDs that reverses the laws he was elected to enact).

This despite the actual marketplace fact that DRM is generally broken within a few days of engagement with the public, often by teenagers, grad students, or people with ready acccess to sophisticated DRM-cracking tools like Google and the sinister Shift key (for more on DRM, see my DRM talk)

But the author goes further and asserts that without DRM, there will be no market for entertainment product ever again ("If publishers stop wanting DRM, it's the end of popular creative arts. Not as we know them, but period.") despite the fact that the software industry got bigger when it abandoned DRM, and despite the fact that no new medium has ever succeeded by appealing to the virtues of the medium before it (there're very few ideas more goofy than the idea that people will start buying ebooks just as soon as they have fewer features and more restrictions, provided that the ebooks can be played back on special-purpose devices with sharp screens). He cites Sony as proof of this ("Sony may be nuts, but they're not that nuts."), despite the fact that Sony was forced out of the walkman market by its failure to deliver the DRM-free devices that its customers demanded. Yes, Sony is that nuts.

He doesn't even touch on the marketplace experience of every published writer who's tried giving away DRM-free ebooks -- me, Lessig, Jim Munroe, the Baen authors, Orson Scott Card -- universally, the experience is that we sell more books (Lessig's latest just went into its third hardcover printing, for chrissakes). This of course echoes the experiences from elsewhere: the movie studios' box office revenues appear to be increasing as a function of the amount of movies being shared on P2P nets and the only empirical study of music downloading and music sales concluded that the effect was usually negligible, rarely negative, and sometimes positive.

He does, however, take time out to snidely dismiss blanket licensing schemes -- like the ones that enable cable television, radio, photocopying, exam papers, live performance, covers, lending, coursepacks, jukeboxes, rentals, etc etc etc all over the world -- as a kind of pipe dream ("When the visionary of all visionaries develops a model for all-you-can-eat media consumption that provides for the artists to actually eat, perhaps I'll change my mind; until then, we are what we are, and we'll have to play nice within the confines of the present system.") despite the fact that these systems have been employed to universal good effect whenever new technology makes exclusion too costly to work effectively. It's like he's totally missed the fact that billions of dollars go right into the pockets of creators and rights-holders through these schemes.

Bizarrely, he asserts that people might buy periodicals that expire off their players in 60 days -- despite the fact that every one of us has a friend or relative with a giant stack of old computer mags, or National Geographics, or colorful Wireds, sitting on a shelf.

Really, it's as though he sat down and called an ebook startup's PR guy, then reasoned out all of his conclusions a priori, without reference to any of the activity in the field.

I believe fiercely and passionately in ebooks -- that's why I give talks like this one -- but articles like this do nothing to advance the discussion. They're echoes of the dotcom snakeoil that dominated the ebook discussion five or ten years ago, and it's a disappointment to see this kind of editorial-in-defiance-of-facts on a hip net-zine like Gizmodo. Link

https://boingboing.net/2004/07/29/ebook-column-that-ge.html

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Creating magical moments with music. Trez Entertainment - making events unforgettable with our premium DJ services, wedding packages, and dance floor rentals. Let us take your event to the next level! To book or know more about our services visit our website.

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Capture the Fun: Why Photobooth Hire is Vital for Parties and Weddings

The Magic Ingredient for Memorable Events

Celebrations such as parties and weddings are filled with hilarity, affection, and cherished memories. It is essential to capture these special instances in order to preserve the event's magic for future generations. Photobooth hire is an interactive and entertaining alternative to hiring a professional photographer for the creation of enduring memories.

At social gatherings such as weddings and parties, photobooths have rapidly become a standard fixture. In addition to providing attendees with a memorable and entertaining activity, they also provide them with personalized mementos to take home. This article will explore the murky waters of photobooth rental and examine the factors that have contributed to its meteoric rise in popularity, especially at weddings and parties. Due to the interactive features they provide and the ease with which they enable guests to create instant mementos, photo booths are a memorable addition to any party.

Interactive Amusement for All

Photobooth rental adds a delightful interactive element to any party or wedding. Here are some reasons why guests adore photobooths:

When guests utilize a photo booth, they have the opportunity to express themselves creatively through a variety of amusing poses and accessories.

Guests, whether they are family, friends, or colleagues, are more likely to interact with one another and form social bonds when photo booths are present.

immediate Photo Printing: Guests will be able to take home their own photos as unique mementos due to the immediate photo printing capability.

Combining Convenience and Entertainment

The last thing you want to bother about at parties and weddings is entertainment and capturing memories. Photobooth rental is the optimal solution:

Photobooth rental companies manage setup and installation, as well as disco and party lights hire, ensuring hosts a hassle-free experience.

Professional-Quality Prints: Within seconds, guests receive professional-quality photo prints, ensuring they have tangible mementos to cherish.

In addition to prints, digital copies of photos can be shared instantaneously via social media and email, extending the event's impact.

Why Photobooths are Popular at Weddings and Parties:

Photobooths capture candid and unscripted moments that professional photographers may overlook, offering a unique perspective on the event.

Photobooths are entertaining for visitors of all ages, from children to grandparents, making them an inclusive and entertaining activity.

Personalized Keepsakes: Guests receive personalized photo strips that serve as cherished mementos of the enjoyable time they had at your event.

How to Choose a Photobooth Rental Service

Review Packages: Compare various photobooth rental packages to find the one that meets your event's requirements and budget the best.

Ensure that the photobooth rental service provides high-quality cameras, printers, and accessories for the best possible guest experience.

Some photobooth rental services may offer additional services, such as jukebox rental in Sydney or disco and party lighting rental, to enhance the entertainment experience.

Conclusion

Photobooth rental has revolutionized how memories are captured at celebrations and weddings. With instant prints and interactive enjoyment for all, photobooths have become a must-have for any celebration. Photobooths create an unforgettable experience for visitors of all ages by capturing candid moments and providing personalized souvenirs.

As we delve into the world of photobooth rental, we recognize the significance of creating enduring memories that will bring future generations pleasure and nostalgia. Embrace the interactive and entertaining aspects of photobooths and make them the secret ingredient that makes your parties and nuptials truly unforgettable.

[sahibnoorsingh]

GEMM Productions offer Commercial Digital Jukebox rental in Dubai, UAE both short term and long term, Call us on +971 6767 2976.

[seoexpertintheworld]

Digital Jukebox rental in Dubai

[craigrosshndy2-blog]

Paper Movies Task

1. What is the significance to us of the ‘Photographic Journey’ in three decades from the 1950’s 

Photographers reached out to discover what the world looked like. Fueled by cheap petrol and existential thought, they traveled the Desert, open road, city streets, the beach, suburbans nowhere's, man-altered landscapes.

2. Joel Sternfeld is seen using what type of camera? Why would he be using this instead of digital? 

Joel is seen using an 8x10 large format camera. Joel claims he loves the spacial power and the overall authenticity in comparison to digital.

3. Why has Robert Frank’s book ‘The Americans’ had such an impact on modern photography? What ‘narrative’ is pervasive throughout his book? 

It laid bare the soul of 1950's America. It brought an outsiders perspective of the open road of America. He documents the culture he saw evolving. He started in New York, traveled south to South Carolina, over to Texas and then back to New York. It wasn't your usual travel photography. He shot everything. From cars to jukeboxes. It was the photographic equivalent of the "great american novel".  Abstract expressionism coupled with his sadness, genius and creativity, he photographed the mundane and brought life to his images. 

At the end of his journey, he had 700 rolls of film. American flags and crosses are coded into his work. It becomes a story. A narrative on dead optimism. It was very badly received when released. The American way of life, as told by a Swiss? They wouldn't stand for it.

4. William Klein had one particular photographic outlet for the expression of his photography – How would you describe his attitude to photography? 

Klein is always on the offensive. Provocative and aggressive. Always pushing the envelope. He wanted to "kick America in the balls". The street was his outlet. Loved to wing it and risk it. Always out on the streets, finding opportunities and scenarios. He took a lot of smudged and out of focus images. He found uses for his work through the discovery of a darkroom. 

He made the streets elegant. He often relied on the crutch of shock and awe to provoke reactions. Klein can potentially be named as the first pop photographer. He acquired his first camera in a card game at the age of 18. Inspired by Weegee.

5. What made Joel Meyerowitz reject Henri Cartier Bresson’s decisive moment concept for his New York Street Photography? 

Meyerowitz decided to not pursue a career in Art after seeing Robert Frank's work. He saw himself as a visual athlete. He sees it as lunacy. Things align and he captures them. He believes he can experience time. He wanted to re imagine living in New York. New York is sizzling with energy. Full of skyscrapers. Glittery and dynamic. He sees it as full of possibilities. He sees it as intimacy. He believes his work sets himself apart from the "Decisive moment" concept. He explains Bresson had a romantic view in his work.

6. Iconic NY Street Photographers Garry Winogrand, Diane Arbus & Lee Friedlander oand English Photographer, Tony Ray Jones who was heavily influenced by the above noted the key pointers to being a successful Street Photographer ……….. Can you list them….

Ray Jones moved to new york to train as a graphic designer. Lured away from the graphic board by the call of the street. His notepad explains: 1. Be more Aggressive 2. Get more involved (talk to people) 3. Stay with the subject matter (be patient) 4. Take simpler pictures 5. See if everything in background relates to subject matter 6. Vary compositions, try more 7. Be more aware of composition 8. Don't take boring pictures 9. Get in closer 10. Watch camera shake

7. Why have British ‘street photographers’ gravitated to the beach as an ideal location for their subject matter? 

Britain was once called "A right little, tight little island". Candid seaside photography extends back to 1896. Paul Martin, in Great Yarmouth, disguised his camera as a paper bag. He managed to capture people as their rawest. British families bared their soul on the seaside. He captured the public.

8. ‘Surface rather than soul’. What does that mean to you? 

I would say "Surface rather than soul" means to me, what you see is what you get. When you face something at face value, that's what others see at first glance. They don't know you to your soul, they don't know you. They see the surface. Photographers often aim for the surface of the subject matter, rather than soul.

9. The Road trips of Stephen Shore & Joel Sternfeld Your observations……. 

The road trips of Stephen Shore and Joel Sternfeld are vastly different. The old conventional saying goes: "only serious photographers shoot in black and white".  When Shore went on his road trip, he shot a visual diary of his trip. He photographed every person he met, toilets he used, food he ate, dogs, residential buildings and even cars. He drove in rental cars. To entertain himself, he would recite Shakespeare. He simply had to keep his attention focused. 

Sternfeld drove in a used Volkswagen camper. He had $40 and sunflower seeds and boxes of film. His favourite time of his life. He only made two negatives a day as that all he could afford. He had a very eventful journey. Not a second wasted.

10. Why would William Eggleston be regarded by photographers as ‘King’?

Eggleston is known as King in Memphis. His reputation rests on the colour photographs. He took pictures of Memphis and surrounding areas. Initially causing a stir when published. Boring to some, baffling beauty to others. Brightly coloured surfaces, called his pictures "democratic". At war with the obvious. He took colour at face value. How does one colour trump another? 

Colour twists the whole content. It relies on the psychological. In October 2005, he visited Dunkirk in France. Eggleston sought out photographic treasure. Journalists attempted to turn his work into words and articles. They weren't able to get very much information out of him. Jeurgen Teller admires his work, especially the cafe shot. He is all about photographing life today. The Genius of Photography, Paper Movies, 19:00 14/03/2009, BBC2 England, 60 mins. https://learningonscreen.ac.uk/ondemand/index.php/prog/00E6C657?bcast=31853255 (Accessed 12 Jun 2019)

Paper Movies Link

Group work with @yvonnejohnstonhnd2 

[earlrmerrill]

Opportunity at The Kennedy Center for a Senior Press Representative!

The Senior Press Representative for WNO & Classical is responsible for the strategic communications and public relations efforts for Washington National Opera and its constituents and programs, the Renée Fleming VOICES series, Composer in Residence Mason Bates and the KC Jukebox series, and other vocal and/or classical presentations, including Direct Current, the Center’s two-week annual focus on contemporary culture.

In collaboration with WNO’s leadership team of General Director Timothy O’Leary and Artistic Director Francesca Zambello and in support of their artistic vision, the Senior Press Representative serves as a member of WNO’s senior management team, and will lead public relations and communications efforts that are consistent with the short and long term strategic plans for WNO, its profile, and its artists, productions, leadership, and other initiatives, including education, community engagement, and professional development. The person in this role will be expected to offer strategic input and guidance as relates to communications, and to garner local, national, and international coverage in print, broadcast, electronic, and digital media outlets that successfully achieves the goals of raising awareness, appreciation, and profile of WNO and its programs.

In addition, this position also requires similar public relations and communications efforts for the Renee Fleming VOICES series, KC Composer in Residence Mason Bates and the KC Jukebox series, and other vocal and/or classical presentations.

As an integral member of the Kennedy Center PR team, work related to other Kennedy Center events, initiatives, and special projects, such as Kennedy Center Honors, the Mark Twain Prize, the REACH, and other festivals, series, and performances is assigned as needed.

The successful candidate will have at least eight years of public relations experience, including responsibility for high-level strategic communications and messaging; long and short-term PR planning ranging from national to grassroots efforts; creating and executing these plans; and an appreciation and understanding of opera and its inner workings, as well as strong media contacts in both the arts and non-arts. A creative spirit, independent thinker, and collaborative nature will be appreciated.

Duties and Responsibilities:

Design and implement comprehensive communications and PR strategies and plans that support Washington National Opera’s institutional advancement, including support for WNO productions, guest artists, the Domingo-Cafritz Young Artist Program, titled leadership, community education and school programs, annual Opera gala, and other initiatives to raise WNO’s profile locally, nationally, and internationally.

Deepen existing relationships with arts journalists and develop new connections to entice new writers and producers to cover WNO. Work to expand feature coverage nationally and globally.

Conceive, commission, write, and edit all content for WNO Playbills. Collect and edit artist biographies to meet WNO Playbill standards and style. Work with dramaturg to plan and create vibrant content for the Playbills.

Manage licensing of content by other opera companies.

Partner with WNO’s marketing and social media teams to provide content and copy and to develop communications strategies for WNO productions, artists, programs, and special events. Provide feedback for all WNO marketing materials and e-mail communications.

Collaborate closely with WNO’s development and education departments to support their events and strategic goals.

Maintain archive of WNO photo, video, and other assets related to the company’s performance history. Assist other opera companies who need these assets for WNO rental and other productions.

Develop and deepen relationships with local partners such as the Embassy of Italy, the Goethe Institute, and others in Washington’s diplomatic and arts communities.

Design and implement comprehensive communications and PR plans that support the Renee Fleming Voices series; KC Composer in Residence Mason Bates and his series/initiatives; seasonal institutional initiatives, and other presentations in the vocal and classical genres as assigned.

Assist with on-site execution of red carpets and other facets of high-profile events such as Kennedy Center Honors, Mark Twain Prize, and other events as needed.

Manage a variety of needs and requests from media, as well as internal Kennedy Center constituents.

Other duties as assigned.

Education/Experience:

Bachelor’s degree required

Minimum Skills and/or Knowledge Required:

Minimum of 8 years’ experience in public relations required.

Appreciation of opera repertoire and classical music is essential; knowledge preferred.

Knowledge of foreign language a plus.

Red carpet experience a plus.

Work Environment

Night and weekend work as required by rehearsal and performance schedules.

Travel up to 5% may be required.

[MORE INFORMATION]

Article source here:Arts Journal

[thesinglesjukebox]

WEEZER - AFRICA

[2.08]

We're covering this because it was demanded on Twitter by like... maybe one or two people!

Joshua Minsoo Kim: An exciting musical event for people who go online and say things like "You, good sir, win the internet today." [0]

Taylor Alatorre: What did Weezer have to do to get back in the good graces of the Hot 100 for the first time since the balloon boy hoax? Apologize for party rocking with Dr. Luke and Jermaine Dupri? Drop the affectations and release a cathartic summer bummer album featuring their single greatest track since the 90s? Put the affectations back on, using late-period Fall Out Boy as a guidepost rather than a cautionary tale? Nope. Apparently all they had to do was check their Twitter mentions. The success of Weezer's "Africa," along with Disturbed's "The Sound of Silence" and Bad Wolves' "Zombie," portends a dark future in which guitar groups grasp onto whatever relevance they can by serving up unchallenging, irony-free leaf rubbings of pop's past glories. It's the easy path, and it's also the best way to self-fulfill the prophecy of rock's demise. If rock is destined to become the new jazz, 80s Greatest Hits compilations are the new standards. We should demand more audacious interpretations than this. [4]

Joshua Copperman: A great shitpost functions like a Rube Goldberg machine, putting a maximum amount of effort into a minimal, slight result (see: the GameCube meme). The insistence that Weezer should cover "Africa" was great not only because of the dedication of the Twitter account, but because fundamentally it's not a bad idea! Weezer has a sense of humor, and they're particularly notable for their harmonies and guitar riffs. Yet the result is abhorrent, with the worst mix to hit the Hot 100 this decade, a superlative achieved from the first crash cymbal and distractingly metallic snare. As the song goes on, distorted guitars and multitracked harmonies fight for space, obscuring those drum and culminating in a synth solo that screams Free 80s Synth VST instead of remotely mimicking the original. "Africa" is a hard song to cover, so it doesn't make sense to learn the song so meticulously and then utterly give up on anything else (harmonies and tom fills notwithstanding). The punchline should be that the cover is great, not that the cover exists st all -- think Celine Dion's contribution to Deadpool 2. Weezer's lack of willingness to go the extra mile, unlike Dion, is frustrating and borderline insulting. Internet types suspect that the poor mixing is "passive agressive," but what's the point of that? It's "Africa." The best covers of a song like that, shitposters or otherwise, both play up the camp factor and taking the actual songcraft seriously. The camp is there with Weezer, but it's still jarring hearing a version of "Africa" that feels dry and perfunctory instead of joyous. [2]

Juan F. Carruyo: This is what happens when a (bad) meme comes to life: the boys from Weezer take a note-for-note trip through the yacht rock classic adding metal power chords in the chorus but undermining the groove by subtracting the congas from the mix, so all that is left is a joyless, by-the-numbers execution. [1]

Alex Clifton: I like "Africa" as much as the next white people, but did we need this? Who asked for this? Is this ironic or sincere? "Africa" has been so memed out and Weezer themselves feel like a meme band that I'm struggling to wrap my head around it. As a cover: it's faithful and seems to love the source material. As a Weezer song: surprisingly not sarcastic, which is a nice change from Rivers Cuomo's usual schtick. As a whole: it's kind of a mess. [4]

Tim de Reuse: I mean, it's bad. The chorus, originally personable and warm, is here reduced to a straining mess of sugary guitars and phoned-in autotune. But even if there were an ounce of passion in the delivery, and even if the execution was in any way technically competent, and even if it didn't have the air of a desperate attempt to hop on a long-departed bandwagon, this would still be a waste of everyone's time, because Rivers Cuomo does not have anything meaningful to contribute to song "Africa" by the band Toto. [0]

Katherine St Asaph: At least when Rickrolling was a thing, no one tried to convince me that Rick Astley was a serious studio musician and that I should give an actual shit about Toto, instead of recognizing "Africa" as Mannheim Steamroller-synthed dreck with unsingable verses and mildly questionable lyrics about Africa that should have been left in the '80s alongside Dynasty hair and Ronald Reagan. That's not the most damning thing about Weezer covering "Africa." I also can't help but note that with the possible minor exception of "Total Eclipse of the Heart," this recanonization-via-meme only happens for the dudeliest of dudes. That's also, surprisingly, not the most damning thing about Weezer covering "Africa." Then there's Weezer, endlessly criticizable Weezer, already a meme band when they released Snuggies in 2009, now gone full Smash Mouth Eat the Eggs Imgur-core. It's Weezer in 2018, it's a given they're not trying, but it's still remarkable how mushy this sounds, like the rains down in Africa drenched all their equipment. But that's not the most damning thing about Weezer covering "Africa" either. The most damning thing is that Weezer covered "Africa" in a lower key. If you're going to karaoke your way back to relevance, put up the high notes or shut up. [1]

Edward Okulicz: I hate "Africa," and Weezer sleepwalking through it is the sort of thing that didn't need to exist, because it's easy to imagine it, and it's also easy to imagine something better. Like, say, Toto doing "Hash Pipe." Or! Even better! The Rentals doing "Hold the Line." [2]

Alfred Soto: Let me attempt to clear the fetid air. Toto needed Boz Scaggs, Michael Jackson, etc, to be any good. "Rosanna" is awful. I don't need Rivers Cuomo's power chords to explain how nostalgia for secondhand colonialism works. Who is this cover for? [2]

Jessica Doyle: So the original, while not exactly bland, is more cheesy than respectable; if the song has any notoriety at all it's because the lyrics are soaked in self-absorption, describing without containing any actual information. The cover increases the guitar and, while not changing the lyrics at all, delivers them with a wink. (Otherwise why bother? The original's not good enough for reverence.) And it works! The energy is fantastic, and the revisions make the original's flaws charming rather than grating. I've been having a lot of fun watching their live performances, and -- wait, what? Aren't we talking about Dreamcatcher? [2]

Thomas Inskeep: Not as smooth on the verses, and a little too hard on the chorus, but at least Rivers Cuomo dialed down the most whiny, grating qualities in his voice in an attempt to nail what makes "Africa" so perfect in the first place. This is a straight-down-the-middle second-base hit for me: I don't love it by any means, but I don't hate it. And that's more than I can say for the past decade, maybe two, of Weezer's career. It's nowhere near as good as the original, but you knew that. [5]

Ian Mathers: Is it really a surprise that the dude from Weezer is a less compelling singer (even, or especially with clunky digital assistance) than the dude from Toto? Or that loud guitars don't necessarily improve things? Or that anything good about this finely aged hunk of cheese is totally lost by trying to update it without even vaguely attempting to improve it? This does not bless any rains, anywhere. [0]

Jacob Sujin Kuppermann: It's impossible to review Weezer covering Toto's "Africa" in a way that reveals anything more than just noting that it is Weezer covering Toto's "Africa" in the year 2018. [4]

[Read, comment and vote on The Singles Jukebox]

[richellearriola-blog]

Songs & Dance Resembles Sex & Romancing

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[trezentertainmentent]

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