#michael deller

[ripempezardexerox]

mus

ast I / East II - Z´EV & Psychic Tv - Direction ov travel  Beckoning - Lustmord Alter Summer - Peter Prautzsch Not is possible landing - Orfeon Gagarin  D - Kozo Inada Omsk 1939 - Orfeon Gagarin Amateur Doubles - Graham Lambkin Fuga en sol - Eduardo Falu Y - Kouhei Matsunaga Curio - Meicho Overture to a Symphony of Terror - Lysergic Earwax  Bladelores - Aurtechre Look over your shoulder - Aaron Dilloway Chaconne in f menor - John Butt

Cello Constellations - Clarice Jensen with Michael Harrison I am paper - Sensational & Kouhei Matsunaga The analyst - Arpanet Vreemde Landen - Enno Velthuys 521 - NHK´Koyxen Suono interno - Terry Fox Possession (a perfect restraint) - Thee Majesty Tableau 2 - Kjell Samkopf O solitude - Henry Purcell por Alfred Deller Jardin secret I - Kaija Saariaho

2001 effects tape 1 - Daphne Oram In touch - Coil Sax solo (for tape bow violin) - Laurie Anderson Sax duet - Laurie Anderson Olari - Vladislav Delay Petit air a dormir debout - John Chen Rhizome - Bendik Giske 13-73 (excerpt) - La Monte Young Kojo no tsuki - Yo-Yo Ma Spevy - Jonáš Gruska Only love can conquer hate - Ryuichi Sakamoto Hallowe´en + Echo Canyon - Sonic Youth

[tfblovesmusic]

Countertenor Core! On Spotify!

First - there was HARDCORE.

Then, there was Cottagecore.

And then - PATOOIE - Balletcore.

Let's add another word that deserves the "-core" suffix. How 'bout -

COUNTERTENOR CORE?

I crafted this playlist for the aficionados of male alto voices - falsetto and modal. It's a potpourri of various vocalists - from Alfred Deller to Alex Chance! I included a variety of excerpts from most eras of classical music.

But the tracks aren't limited to Renaissance and Baroque music. Paul Esswood singing a Robert Schumann romantic lied? It's in here. How about Jochen Kowalski crooning "Bei Mir Bistu Shein" with a big band? I included it.

But be forewarned. If you have kids under 18 and aren't listening to the playlist through earbuds, I STRONGLY advise you to skip over "Gravity" from Donna McKevitt's Translucence. Seriously - even if Michael Chance happens to be one of your favorite countertenors. (Read the lyrics in the CD booklet via the Internet Archive, and you'll see why.)

Anyways - if you have a Spotify account, give it a listen!

[yeohchernyeong]

Week 4 Reality TV Case Study

The rise of social media has dramatically changed the reality television landscape. In the early 2000s, forums and blogs were the main platforms for discussion of reality TV shows, with mainstream sites like The Guardian and Vulture joining fan blogs and audience-facing sites like TWOP in sharing humorous takes on the show. However, by the mid-to-late 2000s, social media platforms such as MySpace, Facebook, and Twitter became competitors for audience attention. These platforms provide space for the formation of online communities, allowing viewers to not only interact with friends and family but also share content related to their interests, including reality shows (Deller, 2019).

In recent years, reality television has played a significant role in shaping the visibility of queer identities and cultural ideas. These programs provide a platform for lesbian, gay, bisexual, transgender and other queer groups in British and American popular culture to express themselves and share their stories. The rise of social media has further reinforced this trend. Through broader norms and ideals of personhood, behavior, and acceptability associated with reality television and social media, these shows make queer identities more accessible and reflect society's diversity and inclusion. Through these media, queer communities can display their lives and stories to a wide audience, promote social understanding and recognition of queer identities, and promote social diversity and inclusion (Michael, 2019).

Live tweets from reality TV shows form identifiable communities on Twitter, and live tweets based on the show give viewers a deeper understanding of a country's cultural identity. Taking The X Factor NZ as an example, live discussions among viewers on Twitter often involve New Zealand, New Zealand culture or New Zealand's place in the world, reflecting the characteristics of New Zealanders and "New Zealanders". This use of social media not only enhances the interaction and participation among viewers, but also provides wider dissemination and influence for reality shows. By sharing their opinions, viewers not only watch the show, but participate in a larger community. This real-time interaction not only connects the audience more closely, but also provides opportunities for immediate feedback and interaction between program producers and participants, deepening the audience's understanding of the program and the cultural and identity issues involved (Stewart, 2019 ).

Social media has become the primary place for viewers to engage in discussions about reality shows, replacing traditional forums and blogs. Twitter, in particular, has become a key platform for real-time interaction during television broadcasts, allowing viewers to tweet as programs unfold, enhancing the public viewing experience. The rise of social media has extended the reach and lifespan of reality shows, providing participants with the opportunity to extend their fame and generate revenue through endorsements and advertising by sharing memes, GIFs and other content. In addition, social media strengthens the credibility of reality shows by giving reality show participants the ability to express their opinions and correct misrepresentations that may appear on the show. Overall, the rise of social media has changed the way audiences participate in and discuss reality shows, providing new possibilities for the spread and influence of programs (Deller, 2019).

Reference

Deller, R. A. (2019). Reality television in an age of social media. Reality Television: The Television Phenomenon That Changed the World, 141–175. https://doi.org/10.1108/978-1-83909-021-920191007

Stewart, M. (2020). Live tweeting, reality TV and the nation. International Journal of Cultural Studies, 23(3), 352–367. https://doi.org/10.1177/1367877919887757

Lovelock, M. (2019). Queerness as authenticity in reality TV. Reality TV and Queer Identities, 63–92. https://doi.org/10.1007/978-3-030-14215-5_3

[mda20009blogassignment]

Week 4: Digital Community and Fandom: Reality TV Case Study

With the advent of the internet, reality television has gone digital, spawning thriving fandoms and communities online. We are redefining our relationship with reality TV on platforms like Tumblr, where viewers analyse, debate, and share their favourite episodes.

By focusing on how social media has made reality TV more participatory, Ruth A. Deller's 2019 piece in "Reality Television: The TV Phenomenon That Changed the World" analyses this phenomena. The mutually beneficial connection between these shows and their online viewers is illuminated by Deller's observations.

Research on reality TV subreddits conducted by Chen and McCabe in 2022 sheds new light on the ways in which these sites encourage political discussion, demonstrating the breadth and depth of ideas brought up by programmes like "The Bachelor"​​.

One way that real-time social media interactions can foster a feeling of national community is through Mark Stewart's investigation of live tweeting during reality shows. The ability of reality TV to bring people together, as described in his 2020 study, is seen in this occurrence.

In her essay from 2022, Helen Wood talks about how reality TV shows nowadays need to be more empathetic and on how "Big Brother" is coming back. This is a reflection of the rising expectation for sensitive and genuine reality television.

"Reality TV and Queer Identities" is Michael Lovelock's 2019 book that explores the portrayal of LGBTQ+ people on reality TV and how the genre influences how people view sexuality and authenticity.

Studying "RuPaul's Drag Race" from 2017 by Brennan and Gudelunas highlights the impact of reality TV on cultural narrative formation and how the show has contributed to the globalisation of drag culture.

L'Hoiry's 2019 study on "Love Island" provides a new angle on viewer participation by highlighting how sousveillance and social media have questioned long-held assumptions about the authenticity of reality television.

Finally, "a tumblr book: platform and cultures" has a roundtable discussion about 2020 that sheds light on the fan cultures on Tumblr and how digital platforms are now fundamental to reality TV.

Overall, these resources show how online communities and fandoms have changed the way we watch reality TV. The way these shows and their internet viewers engage with political discourse and cultural representation reflects how media consumption is changing.

References:

Brennan, N., & Gudelunas, D. (2017). Drag Culture, Global Participation and RuPaul’s Drag Race. The Author(s) 2017. file:///Users/hanhtrang/Downloads/Brennan-Gudelunas%202017%20Drag%20Culture%20Global%20Participation.pdf

Chen, A., & McCabe, K. T. (2022). Roses and thorns: Political talk in reality TV subreddits. New Media & Society, 146144482210991. https://doi.org/10.1177/14614448221099180

Deller, & A, R. (2019). Reality television: The tv phenomenon that changed the world. Emerald Publishing Limited. file:///Users/hanhtrang/Downloads/Deller%20Reality%20TV%20in%20the%20Age%20of%20Social%20Media%20week%20four%20reading.pdf

L’Hoiry, X. (2019, August 2). Love Island, Social Media, and Sousveillance: New Pathways of Challenging Realism in Reality TV. Frontiers; Department of Sociological Studies, University of Sheffield, Sheffield, United Kingdom. https://www.frontiersin.org/articles/10.3389/fsoc.2019.00059/full

Lovelock, M. (2019, April 25). Reality TV ang Queer Identities. SrpingerLink; Srpinger Link. file:///Users/hanhtrang/Downloads/Lovelock%20Reality%20TV%20and%20Queer%20Identities.pdf

McCracken, A., Cho, A., Stein, L., & Hoch, I. N. (2020). a tumblr book: platform and cultures. In ACLS Humanities EBook. University of Michigan Press. https://www.fulcrum.org/concern/monographs/x346d608w

Stewart, M. (2019). Live tweeting, reality TV and the nation. International Journal of Cultural Studies, 23(3), 352–367. https://doi.org/10.1177/1367877919887757

Wood, H. (2022, August 9). Big Brother is coming back – the reality TV landscape today will demand a more caring show. The Conversation; THE CONVERSATION. https://theconversation.com/big-brother-is-coming-back-the-reality-tv-landscape-today-will-demand-a-more-caring-show-188313

[craftycamouflaged]

Reality TV and Social Media

Married at First Sight, Love Island, Survivor…the landscape of modern reality TV is almost endless. And despite how much you may deny it, you’ve definitely watched at least one episode. But how much of it is actually real? And better yet; how much of that ‘reality’ is influenced by us viewers?

(Lovelock, 2019) states that reality programming was born in the early 1990s as the result of the television industry’s change in how its production, distribution and reception operated. It started to take off in the early 2000s, and since then its popularity has skyrocketed. But what if you wanted to talk about your new favourite show with someone other than your family? Fortunately, with reality TV’s success spawned countless fan blogs and forums dedicated to talking about these shows. 

If you’ve ever searched through the #MAFS hashtag on Twitter while the show’s been on air, you’d have at least some idea of how social media can go absolutely crazy over a show. Fan responses to reality shows on social media sites like this are largely what keep engagement high throughout a show's airtime. Meanwhile, the liveness of these shows can also be increased by official social media accounts run by producers and show runners. (Deller, 2019) These people can offer special content that fan-accounts don’t have, like clipped moments from their show and exclusive Qs and As, which can also boost the visibility of a show. 

Of course, occasionally shows intentionally blur the line between the screen and the audience to foster a deeper connection. According to a study in 2014, audiences generally exhibit a positive relationship between parasocial relationships and the viewer's perception of a brand's credibility. (Chung, 2014) This phenomenon has resulted in certain shows fostering parasocial relationships between fans and audiences in order to boost engagement. Something to keep an eye on if you're a fan!

References:

Lovelock, Michael (2019)  'Introduction' in 'Reality TV and Queer Identities: Sexuality, Authenticity, Celebrity'. Pp. 5

Deller, Ruth A, (2019) Extract:  'Chapter Six: Reality Television in an Age of Social Media' in Reality Television: The TV Phenomenon That Changed the World (Emerald Publishing). Pp. 156

Chung, SiYoung and Hichang Cho (2014), ‘Parasocial Relationship via Reality TV and Social Media: Its Implications for Celebrity Endorsement’ Pp. 47

[nyahdigitalcommunities]

Exploring the Relationship between Social Media and Reality TV

This week's reading 'Reality Television: The TV phenomenon that changed the world' by Ruth Deller explores the relationship between reality TV and social media (Deller 2019). Deller analyses two areas related to this relationship, the self and online communities (2019).

Reality TV and The Self

Prior to participatory media, reality TV was the only media platform ordinary individuals had access to for self-branding (Deller 2019). Microcelebrity practices, which refers to the purposeful branding of oneself online, is suggested by Deller to have originated from reality TV (2019). Modern microcelebrity has developed as technologies have afforded ordinary individuals with the tools to brand themselves (Djafarova & Trofimenko 2019). Vlogging and self-disclosure closely mimic the practices conventional to reality TV, with each attempting to portray a sense of authenticity (Deller 2019).

Reality TV participants become famous to the specific audience who watch the season, and participants can utilise social media to convert these fans into their own supporters post-broadcast (Hargraves 2018).

Married at First Sight couple Martha Kalifatidis and Michael Brunelli exemplify this.

After featuring on the 2018 season, the couple have amassed a combined total of 1 million followers on Instagram. Both figures engaged in microcelebrity practices to continue to brand themselves after the season aired. Kalifatidis, in particular, self-discloses elements of her life such as her pregnancy and experiences with Brunelli through posting day-in-the-life style vlogs. 

The couple also receive promotional deals with brands, similar to influencers.

Social media has transformed reality TV into a pathway to a career as a public figure that extends beyond the show (Deller 2019).

Social media has also afforded reality TV participants more agency over their presentation during and after broadcast (Deller 2019). Participants can adopt their platforms to share their perspectives on their representations in reality TV, and provide a seemingly unfiltered presentation of themselves that is perceived as more reputable by the audience (Deller 2019). Whilst both reality TV and social media are curated, participants have agency over their own presentation on social media (Deller 2019; Djafarova & Trofimenko 2019). 

Abbie Chatfield utilised social media to both share her experiences and rebrand after her debut on reality TV. Chatfield was presented as the villain of the 2019 season of The Bachelor and received significant hate on social media.

After the season finale's air, Chatfield utilised Instagram to share her experience of the show which heavily contrasted her portrayal on air. This is written in the caption of her post below.

View this post on Instagram

A post shared by ABBIE CHATFIELD (@abbiechatfield)

Chatfield utilised her social media platform to separate herself from The Bachelor and currently has a career as a radio presenter, TV personality, and podcaster. She now presents herself on social media as a body-positive, sex-positive mental health advocate.

Reality TV and Online Communities

The use of social media has shifted reality TV consumption into a communal activity in which viewers can actively participate (Stewart 2020). A key element of watching reality TV is its liveness (Stewart 2020). Watching live broadcasts creates a sense of unity amongst viewers because they know that others in the community are watching at the same time (Deller 2019).

The following tweets are from a live broadcast of a recent scandal in the current Married at First Sight Australia season.

Social media has connected these viewers and enabled them to form online communities where they can discuss what they're watching as it happens (Stewart 2020). Social media discussions are the tangible product of live reality TV's collective viewing experience.

The adoption of social media as a space for fans to congregate has created digital communities which extend past the liveness of reality TV (Deller 2019). Online communities of reality TV fans stay active for continued discussion and sharing of memes and reactions to the content viewed prior. Fans usually adopt fan-created spaces online and approach these spaces with humour (Deller 2019).

'Love Island Memes' is a fan-created Facebook group in which the Love Island UK community can continue to discuss the series outside of the show's broadcast times.

These accounts depict how social media has extended the congregation of fans into communities which now exist beyond just second-screen commentary.

References @abbiechatfield 2019, Abbie Chatfield, 24 September, viewed 25 March 2023, <https://www.instagram.com/abbiechatfield/?utm_source=ig_embed&ig_rid=65466b16-5ece-4797-9efe-afa2fb8ebcd4>.

@bloblobloblobbb 2023, jonathon, 28 February, 8:42PM, viewed 25 March 2023, <https://twitter.com/bloblobloblobbb/status/1630503599125200898>.

@marthaa_k 2022, Martha Kalifatidis, 1 July, viewed 25 March 2023, <https://www.instagram.com/reel/CfdxhPrgvTg/?utm_source=ig_web_copy_link>.

@marthaa_k 2023, Martha Kalifatidis, 9 February, viewed 25 March 2023, <https://www.instagram.com/reel/CobwYRMt6lM/?utm_source=ig_web_copy_link>

@PK_APOSTOLI 2023, Apolo, 28 February, 8:53PM, viewed  25 March 2023, <https://twitter.com/PK_APOSTOLI/status/1630506519556128769>

@shanaedanii 2019, ♡, 19 September, 9:02PM, viewed 25 March 2023, <https://twitter.com/shanaedanii/status/1174639848474300416>.

@tpwklany 2019, alyssa, 19 September, 9:08PM, viewed 25 March 2023, <https://twitter.com/tpwklany/status/1174641524329480194>.

Deller, R A 2019, Reality Television: The TV phenomenon that changed the world, Emerald Publishing, eBook Central (ProQuest), pp. 153-175.'

Djafarova, E & Trofimenko, O 2019, ''Instafamous' - credibility and self-presentation of micro-celebrities on social media', Information, communication & society, vol. 22, no. 10, pp.1432-1446.

Hargraves, H 2018, ''For the first time in ________ history...': microcelebrity and/as historicity in reality TV competitions', Celebrity Studies, vol. 9, no. 4, pp. 503-518.

Home 2023?, It's a Lot Podcast, viewed 25 March 2023, <https://www.itsalotpodcast.com>.

Rhodes, C 2021, Chelsea Rhodes, 19 August, viewed 25 March 2023, <https://www.facebook.com/groups/loveislandmemes/permalink/1367573150364046/>.

Stewart, M 2020, 'Live tweeting, reality TV and the nation', International journal of cultural studies, vol. 23, no. 3, pp. 352-367.

[lisaschittulli]

Under the title We are so many here, the artists of the association board of the Basler Kunstverein exceptionally curate this year’s Regionale at Kunsthalle Basel. On the occasion of the 150th anniversary of Kunsthalle Basel, more than 50 artists will be brought together in a polyphonic, colorful, and resonant presentation. Kunsthalle Basel was founded in 1872 by artists for artists, among others, as a place of exchange, critical debate, and friendship, to “establish a site for visual arts,” as declared when its foundation stone was laid. In addition to its legendary exhibition spaces, Kunsthalle Basel also houses other cultural institutions under its roof, as well as the renowned Restaurant Kunsthalle. To mark its 150th birthday, Kunsthalle Basel is to be experienced in all its facets and taken over by artists in a playful and celebratory way—not to look at the past nostalgically, but to continue writing history afresh.

With Benjamin Tiberius Adler, Urs Aeschbach, Karin Borer, Raffaela Boss, Oliver-Selim Boualam, Hsuan-wei Chen, Kilian Dellers, Brendhan Dickerson, Baptiste Filippi and Loïc Urbaniak, Marcel Freymond and Michael Stulz, Lea Fröhlicher, Jean-Pierre Gigli, Daniel Göttin, Pascale Grau, Alice Guérin, Gilles Jacot, Hae Young Ji, Ana Jikia, Anas Kahal, Judith Kakon, Stefan Karrer, Aida Kidane, Lysann König, Vincent Kriste, Daniel Kurth, Doris Lasch, Heinrich Lüber, Céline Manz, Anina Müller, Mariana Murcia, Sinai Mutzner, Dawn Nilo, Jacob Ott, Parvez, Anastasia Pavlou, Noemi Pfister, Nina Rieben, Marion Ritzmann, Lea Rüegg, Dorothee Sauter, R. Sebastian Schachinger, Lilli Schaugg, Lisa Schittulli, Benoît Schmidt, Markus Schwander, Kathrin Siegrist, SOLAND ANGEL, Gregory Stäuble, Jürg Stäuble, Raphael Stucky, Katarina Sylvan, Inka ter Haar, Ilja Zaharov, Vital Z’Brun, Meng Zhang

We are so many here is part of the Regionale 23 and is curated on the occasion of the 150th anniversary of Kunsthalle Basel by Rut Himmelsbach, Cécile Hummel, Sophie Jung, Edit Oderbolz, Hannah Weinberger, and Johannes Willi, current and former artist members of the association board of the Basler Kunstverein. 

[elmartillosinmetre]

Maneras de cantar

[El contratenor británico Alfred Deller (1912-1979)]

Akal publica un tratado teórico e histórico, puesto al día, sobre la voz de los contratenores

En la década de 1940, la cuerda de alto de las capillas musicales de los templos ingleses era cubierta casi en su totalidad por varones adultos que cantaban en falsete. Uno de ellos, Alfred Deller, empezó a ofrecer actuaciones como solista de concierto y, admirado por sus prestaciones, el compositor Michael Tipett, que pasa por ser su principal descubridor y que estudiaba entonces la época de la Restauración inglesa del siglo XVII, le puso la etiqueta de “contratenor”, igualándolo con el uso que de ese mismo término se hacía en tiempos de Purcell. Desde ese momento, potenciada por la coincidencia con la profundización en el rescate de la música antigua y el desarrollo de las prácticas historicistas, la voz de contratenor se fue primero normalizando para convertirse luego (actualmente) en una de las más valoradas por el mercado para servir determinados roles musicales concretos.

Faltaba sin duda un estudio serio y en profundidad sobre el fenómeno y este libro publicado por Akal viene a cubrir ese vacío. Se trata en realidad de la tesis doctoral que Miguel Ángel Aguilar Rancel leyó en 2014 en la Universidad de La Rioja, y aunque obviamente ha sido adaptada para su comercialización, el tono de trabajo académico sobrepasa con mucho lo que es normal en un libro de divulgación.

Aguilar Rancel constata con razón que el principal problema de la mayoría de los estudios dedicados al tema desde el ámbito de la musicología es que adolecían de una imprecisión terminológica muy notable en lo que hace a una cuestión fundamental, la foniátrica, y por eso dedica al principio un amplísimo capítulo a las bases fisiológicas de la producción vocal, en el que trata de fijar con claridad cuál es la referencia exacta, física, objetivable, de cada concepto (registro, mecanismo, pasaje...). Me temo que ese capítulo, complejo y algo reiterativo en su exposición, será un obstáculo para muchos lectores. Sin duda que se trata de una necesidad si queremos considerar la obra en el ámbito de la literatura científica, pero quizás para una edición de naturaleza divulgativa habría sido posible reducirlo al fundamento básico que luego se va a emplear en el resto del volumen: los cuatro patrones fisiológicos de comportamiento laríngeo, que a eso es a lo que llama mecanismo, ordenados en cuatro grados (M0, M1, M2 y M3), correspondiendo el M1 a lo que tradicionalmente se ha considerado la forma de emisión natural del varón y M2 a la voz en falsete.

Esta base, con todos los matices y las puntualizaciones oportunas, que plantea muchos y muy razonables a lo largo de todo el libro, puede bastar para seguir con aprovechamiento el recorrido principal de la obra, seguramente lo que más interesará a un aficionado a la música (fuerte, en cualquier caso; no es este un libro para no iniciados): en qué medida se encuentra la tipología vocal que hoy identificamos con el contratenor en otros momentos de la historia y para qué cometidos era empleada.

El rastreo, desde la Edad Media al presente, por todos los ámbitos geográficos occidentales relevantes para cada época, es magnífico, pues el autor va cruzando los datos que ofrecen los tratados con las noticias extraídas de fuentes diversas y con los propios repertorios para ir identificando allí donde era posible que existieran varones adultos mudados que cantasen en todo o en parte en M2. El resultado es que ese tipo de producción de la voz ha existido de un modo o de otro desde siempre, aunque por norma era más habitual en el ámbito religioso que en el profano, y fue finalmente en las capillas eclesiásticas donde se preservó cuando en el siglo XIX se produce el cambio estético que encumbra a un tenor cada vez más dramático y se va imponiendo una técnica de emisión cubierta. Refugiados pues durante mucho tiempo en los templos, en las últimas décadas los contratenores saltaron a la conquista de todo tipo de escenarios. Ahí siguen.

[Diario de Sevilla. 13-11-2022]

El contratenor. Historia y presente de una tipología vocal Miguel Ángel Aguilar Rancel. Madrid: Akal, 2022. 343 páginas. 25 euros

[rainingmusic]

Charles Bradley - Stay Away 

[aarifwaqarr]

"If paris deserves a minute of silence, then syria deserves that the whole world falls silent forever." Via ~ Michael John Deller

[sunskate]

Ice Dance 2022-23 season

Molly Lanaghan/ Dmitre Razgulajevs (CAN): RD: FD: Micmacs à Tire-Larigot soundtrack by Raphaël Beau- Droit De Cité; Micmacs a la Gare, Saint Eustache, Larrons en Foire

Carolane Soucisse/Shane Firus (CAN): RD: FD: Nahko and Medicine For The People- Aloha Ke Akua

Natalie Taschlerova/Filip Taschler (CZE): RD: Shakira- Hips Don't Lie; Enrique Iglesius- Hero FD: Max Richter- On the Nature of Daylight; Ludovico Einaudi- Run; Jacob Shea, Jasha Klebe- Early Morning Fog (coaches: Matteo Zanni, Barbora Reznickova; choreo: Matteo Zanni)

Yuka Orihara/Juho Pirinen (FIN): RD: Cardi B.- I Like it Like That; Klaus Hallen Tanzorchester- Dancing with a Stranger; Instruction

Eleanor Hirst/Anthony Currie (GBR): RD: Gypsy Kings- Hotel California FD: Evita (coaches: ?)

Jennifer Janse van Rensburg/Benjamin Steffan (GER): RD: J Balvin, Pharrell Williams- Safari; Pentatonix- Havana; Reel 2 Real- Move It FD: Balazs Havasi- Prelude Age of Heroes (coaches: Rostislav Sinicyn, Natalia Karamyseva; choreo: Mariia Tumanovska-Chaiika)

Charlene Guignard/Marco Fabbri (ITA): RD: Grace Jones- This Is, I'm Crying; Monica Naranjo- Pantera en Libertad

Kana Muramoto/Daisuke Takahashi (JPN): RD: Conga, Rhythm is Gonna Get You, Ahora, Move FD: (choreo: Marina Zoueva, Ilia Tkachenko, Maxim Kozhevnikov, Sarry, 矢内康洋 Randi Strong)

Paulina Ramanauskaite/Deividas Kizala (LTU): RD: Celia Cruz- La Vida Es Un Carnaval; Perez Prado and Rosemary Clooney- Sway; Sergio Mendes- Magalenha FD: AC/DC- Highway to Hell; Gary Moore- Still Got the Blues; AC/DC- Demon Fire (coaches: Maurizio Margaglio, Neil Brown)

Oona Brown/Gage Brown (USA): RD: Imagine Dragons, Tony Evans and his Orchestra, Gnarls Barkley- Bones FD: Annie Lennox- Big Sky; Joe Bonamassa- No Good Place for the Lonely (coaches and choreo: Inese Bucevica, Joel Dear)

Lorraine McNamara/Anton Spirodinov (USA): RD: George Michael- Careless Whisper, arr. Hugo Chouinard FD: Ezio Bosso- Rain in Your Black Eyes (coaches: Alexei Kiliakov, Elena Novak, Jimmie Manners; choreo: Novak, Manners)

Eva Pate/Logan Bye (USA): RD: Rio- Barbatuques- Beautiful Creatures; Jamie Foxx- Fly Love; Rio singers- Real in Rio FD: Riverdance- Bill Whelan- Reel Around the Sun (coaches: Igor Shpilband, Pasquale Camerlengo, Natalia Deller, Adrienne Lenda; choreo: Igor Shpilband, Pasquale Camerlengo, Renee Petkovski, Oksana Zolotarevskaya, Zachary Donohue)

[bekkerarchives]

i would just like to point something out about the taylor swift controversy atm -

brendon urie / panic at the disco, his most recent album was pray for the wicked

the first three songs on it:

(Fuck a) Silver Lining, written by Brendon Urie, Jake Sinclair, Morgan Kibby, Scott Chesak, Johnny Funches, Marvin Junior Say Amen (Saturday Night), written by Urie, Sinclair, Lauren Pritchard, Sam Hollander, Toby Wincorn, Tom Peyton, Imad Roy El-Amine, Suzy Shinn, Thomas Brenneck, Michael Deller, Daniel Foder, Andrew Greene, Brian Profilio, Jared Tankel, Nathan Abshire Hey Look Ma, I Made It, written by Urie, Dillon Francis, Michael Angelakos, Hollander, Sinclair, Kibby

uries also a massive artist, and no one really says anything about the fact he seems to not be able to write a song without six other people

i wonder why taylors getting called out and not him?

could it be... misogyny?

[bm-contemporary-art]

Untitled (Lying Pose with Details of Arm) from Iggy Pop Life Class by Jeremy Deller, Michael Grimaldi, 2016, Brooklyn Museum: Contemporary Art

Size: 18 x 12 in. (45.7 x 30.5 cm) Medium: Graphite pencil and powdered graphite on paper

https://www.brooklynmuseum.org/opencollection/objects/222682

[paula-mierzowsky]

VANITAS21 - THE PRESENT

Eine Konzertinstallation zu Musik von Monteverdi und Avantgarde zusammen mit einem Chor. Einmal in einer Kirche und einmal in einer Festhalle. Mit den Mitwirkenden und für das Publikum sollte ein Fest der Gegenwart gehört, gespürt und gefeiert werden.

"Die Gegenwart als Geschenk zu feiern, mit Musik aus der Vergangenheit, der Zukunft und vor allem aus der unmittelbaren Gegenwart – das ist Anspruch dieses Konzertprojektes der Jungen Kantorei. Es verbindet die Musik Claudio Monteverdis für Solisten, Chor und Instrumentalisten mit der Avantgarde-Musik des Trios Dell/Lillinger/Westergaard. Wie genau passt Vanitas ‚Vergänglichkeit‘ zu unserer Gegenwart, zu Present, Präsenz oder Präsent, und was hat all dies mit Monteverdi, einer Installation und Improvisation zu tun? Die Antwort nimmt uns mit in ein Konzert, in ein Ritual, das für sich eine Antwort auf die Vergänglichkeit gefunden hat,

In den letzten Monaten haben wir gespürt, wie machtlos und verletzlich wir gegenüber den Gefahren unserer Umwelt sein können. Musik eröffnet eine Möglichkeit mit dieser Situation umzugehen, und schon Monteverdi hat diese elementare Situation vertont. Er hat mit „Selva morale e spirituale“ eine Sammlung geschaffen, die uns die Vergänglichkeit eindrücklich spürbar und hörbar macht. Den Moment der Gegenwart zu genießen und sich den Schönheiten des Lebens intensiv zu widmen, kann eine Antwort und Reaktion auf die Gefahren sein.

Das Konzert „Vanitas – The Present“ ist ein Projekt innerhalb der Reihe „Neues Hören“, das den ganzen Raum um die Musizierenden einbezieht und sich mit Videoinstallation, Licht und Ausstellungen dem Thema digital, hybrid und analog stellt. Anwesenheit und Abwesenheit werden mittels Videos, Livekamera und einem beeindruckenden Bühnenbild verschwimmen. Die Musik ist dabei gänzlich live, mit Monteverdis a capella-Messe und einem konzertanten Gloria, die einen Rahmen über Vergänglichkeit und Gegenwart hinaus bilden. Improvisation als die intensivste und unvorhersehbarste musikalische Form verbindet und verwebt alles miteinander.

Ein Sextett aus Gesangssolisten, solistische Instrumentalisten und die Junge Kantorei gestalten die facettenreiche Musik Monteverdis. Das renommierte Trio Dell/Lillinger/Westergaard aus Berlin improvisiert, und das Team um Paula Mierzowsky und Johann Diel sind für die räumliche und visuelle Installation verantwortlich. Jonathan Hofmann agiert als künstlerischer Leiter der Jungen Kantorei."

https://junge-kantorei.de/konzerte/

Installation/Regie: MUDAFI - Paula Mierzowsky und Johann Diel, Agentur für Interventionen

Video: Christoph Neugebauer, Michael Gärtner

Vokalensemble: Heike Heilmann, Simone Schwark (Sopran), Ulrike Malotta (Alt), Christian Rathgeber, Fabian Kelly (Tenor), Florian Küppers (Bass). Im Gloria à 7 dazu Martin Hirsch (Bass) aus dem Heidelberger Teilchor.

Avantgarde-Trio: Christopher Dell (Vibraphon), Christian Lillinger (Schlagzeug), Jonas Westergaard (Kontrabass)

Instrumentalensemble: Marie Deller (Violoncello und Flöte), Mikiya Kaisho (Theorbe), Torsten Mann (Truhenorgel), Hanna Visser (Violine), Alexandra Wiedner-Lorenz (Violine)

Junge Kantorei

Leitung: Jonathan Hofmann

Mit tatkräftiger Unterstützung der Firma Kyritz

Gefördert durch: Georg und Franziska Speyer´sche Hochschulstiftung, Sparkassen-Kulturstiftung Hessen-Thüringen, Stiftung Polytechnische Gesellschaft Frankfurt am Main, aventis foundation, EKHN Stiftung (Die Kulturstiftung der Evangelischen Kirche in Hessen und Nassau), Kulturfonds Frankfurt RheinMain, Johanna-Quandt-Stiftung, Evangelisch-lutherische Wartburggemeinde Frankfurt am Main, Universität Heidelberg, Kulturamt Frankfurt am Main

[still-single]

Still Single / Heathen Disco 2020 End of Year Recap

I guess I’m back! I started gingerly dipping back over into Tumblr to publish some reviews as a means of cutting through all the bondage photos and anime screencaps and people still living on Tumblrs (shout out to anyone still Tumblin', it's alright). I also redoubled my efforts to do great radio shows, and that seems to bother some of you enough to unsubscribe, but I'm feeling great about all that. If you wanna hear those shows, you can go to Mixcloud and listen to your hearts' content. Those 5-6 reviews on here actually turned up worthwhile music in my PO box, so thanks to those who submitted.

This was gonna be the year I reintroduced myself to the world. Don't make plans like that. Things are a lot better now than I thought they'd be, and the time I burnt up on movies and self-reflection this year was probably more needed than another DJ gig or whatever. Radio sustained me, I will freely admit, and finding records out in the wild once shops reopened was really killer too.

Anyway, time for a year-end recap, right?

Top 10 albums, historical (alphabetical): Adulkt Life – Book of Curses (What’s Your Rupture?) Bailterspace – Concret (self-released) The Cowboy – Wi-Fi on the Prairie (Feel It) Angel Bat Dawid and Tha Brotherhood – Live (International Anthem) Home Blitz – All Through the Year EP (Sophomore Lounge) MJ Guider – Sour Cherry Bell (Kranky) David Nance – Staunch Honey (Trouble in Mind) Theo Parrish – Wuddaji (Sound Signature) Schisms – Speech Copy Rap Master (Fort Evil Fruit) Sweeping Promises – Hunger for a Way Out (Feel It)

25 more, just because, also alphabetical: Ana Roxanne – Because of a Flower (Kranky) Clemency – References EP and remixes (2 B REAL) Tara Clerkin Trio – self-titled (Laura Lies In) Dezron Douglas & Brandee Younger – Force Majeure (International Anthem) DJ Python – Mas Amable (Incienso) FACS – Void Moments (Trouble in Mind) Green/Blue – self-titled (Slovenly) Gun Outfit – Clean Runs the Thread (Joyful Noise) Janedriver – You Know It’s True EP (self-released) Junk Drawer – Ready for the House (Art for Blind) Lavender Flu – Barbarian Dust (In the Red) / Tomorrow Cleaners (MEDS) … technically two releases, but really just chapters in the same book Lewsberg – In This House (12XU) Melenas – Dias Raros (Trouble in Mind) The Midnight Steppers – Isolation Drives (Radical Documents) Oily Boys – Cro Memory Grin (Cool Death) Optic Sink – self-titled (Goner) Permission – Organised People Suffer (La Vida Es Un Mus) Pool Holograph – Love Touched Time … and Time Began to Sweat (Sunroof) Riki – self-titled (Dais) Sacred Product – Same Old Gag (Eternal Souncheck) The Soft Pink Truth – Shall We Go on Sinning So That Grace May Increase? (Thrill Jockey) Special Interest – The Passion Of (Night School/Thrilling Living) Luke Stewart – Luke Stewart Exposure Quintet (Astral Spirits) Vanessa Worm – VANESSA 77 (Optimo Musik) Jim White & Marisa Anderson – The Quickening (Thrill Jockey)

15 reissues/archival, alphabetical yet again: Dadamah – This Is Not a Dream (Grapefruit) East Village – Hotrod Hotel (Slumberland) The Eighteenth Day of May – self-titled (Cardinal Fuzz/Feeding Tube) Endless Boogie – The Gathered and Scattered (No Quarter) Flaming Tunes – self-titled (Superior Viaduct) Anthony Moore – OUT (Drag City) Musica Transonic – self-titled (Black Editions) Naujawanan Baidar – self-titled (Cardinal Fuzz/Feeding Tube) No Trend – Too Many Humans/Teen Love box set (Drag City) The Only Ones – Live in Chicago 1979 (Alona’s Dream) Rema-Rema – Wheel in Small Doses Extended Version (Le Coq Musique) Vertical Slit – Live at Browns (Siltbreeze) Vivienne Styg – Rose of Texas (Tall Texan) The Whip – self-titled (Wantage USA) Various Artists – Strum & Thrum: The American Jangle Underground (Captured Tracks)

Top 10 Record Scores this year, A to zed: The Church – Sing-Songs 12” EP (Parlophone) The Equals – Equals Party live promo 12” (Phonogram) HNO3 – Doughnut Dollies 12” (R & S) Annea Lockwood – Glass World of Anna Lockwood LP (Tangent) Optik/Equal Phaze – split one-sided 12” test press (no label) Six Finger Satellite – Severe Exposure LP/12” (Sub Pop) Sweet Breeze – Across the Desert LP (Feathers) Tappi Tíkarrass – Miranda LP (Gramm) Various Artists – Best of the Beat Greatest Hits LP, purple sleeve (Espera) Various Artists – Le Mysterieux 12” EP (Musique Pour La Danse)

Favorite movies discovered in 2020:

“Animals” | 2019, d. Sophie Hyde “Band of the Hand” | 1986, d. Paul Michael Glaser “Bell, Book & Candle” | 1958, d. Richard Quine “Breaking In” | 1989, d. Bill Forsyth “Le Choc du Futur” | 2019, d. Marc Collin

“The City Girl” | 1984, d. Martha Coolidge “Conquest” | 1983, d. Lucio Fulci “Everybody in the Place: An Incomplete History of Britain 1984-1992” | 2018, d. Jeremy Deller “G.B.H” | 1982, d. David Kent-Watson “Luz” | 2018, d. Tilman Singer

“The Pyx” | 1973, d. Harvey Hart “Ring of Darkness” | 1979, d. Pier Carpi “Rivals” | 1972, d. Krishna Shah (and RIP to Mike “McBeardo” McPadden, who made me aware of it, as he made many people aware of the insane secret histories of genre cinema) “Satisfaction” | 1988, d. Joan Freeman “Savage Three” | 1975, d. Vittorio Salerno

“Simon, King of the Witches” | 1971, d. Bruce Kessler “Swallow” | 2019, d. Carlo Mirabella-Davis “Thief” | 1981, d. Michael Mann “Two Gentlemen Sharing” | 1969, d. Ted Kotcheff “X, Y & Zee” | 1972, d. Brian G. Hutton

Resolutions for 2021: Open things up, share more, care more.

_______ New Year, Doug Mosurock

[mafaldaknows]

Add this to your Charmie playlist:

SAY AMEN (SATURDAY NIGHT) by Panic!AtTheDisco

Been travelin' in packs that I can't carry anymore

Been waitin' for somebody else to carry me

There's nothin' that's there for me at my door

All the people I know aren't who they used to be

And if I try to change my life one more day

There would be nobody else to save

And I can't change into a person I don't wanna be, so

Oh, it's Saturday night, yeah

I pray for the wicked on the weekend

Mama, can I get another amen?

Oh, oh, oh, oh, oh, oh, oh, it's Saturday night, yeah

Swear to God, I ain't ever gonna repent

Mama, can I get another amen?

Oh, oh, oh, oh, oh, oh, oh, it's Saturday night, yeah

And every mornin' when I wake up

I wanna be who I couldn't say I'd ever been

But it's so much more than I ever was

If every night I go to sleep knowin'

That I gave everything that I had to give

Then it's all I could've asked for

I've been standing up beside everything I've ever said, but

Oh, it's Saturday night, yeah

I pray for the wicked on the weekend

Mama, can I get another amen?

Oh, oh, oh, oh, oh, oh, oh, it's Saturday night, yeah

Swear to God, I ain't ever gonna repent

Mama, can I get another amen?

Oh, oh, oh, oh, oh, oh, oh, it's Saturday night, yeah

If I had one more day to wish

If I had one more day

To be better than I could have ever been

If I had one more day to wish

If I had one more day

I could be better, but, baby

Oh, it's Saturday night, yeah

I pray for the wicked on the weekend

Mama, can I get another amen?

Oh, oh, oh, oh, oh, oh, oh, it's Saturday night, yeah

Swear to God, I ain't ever gonna repent

Mama, can I get another amen?

Oh, oh, oh, oh, oh, oh, oh, it's Saturday night, yeah

It's Saturday, Saturday, Saturday

Oh, oh, oh, oh, oh, oh, oh, it's Saturday night, yeah

Swear to God, swear to God, swear to God

Oh, oh, oh, oh, oh, oh, oh, it's Saturday night, yeah

Source: Musixmatch

Songwriters: Sam Hollander / Andrew Greene / Lauren Pritchard / Nathan Abshire / Thomas R. Brenneck / Jared M. Tankel / Tom Peyton / Michael Joseph Deller / Jake Sinclair / Brendon Boyd Urie / Brian James Profilio / Imad-roy El-amine / Suzy Shinn / Daniel F Jr. Foder / Eric Tobias Wincorn

Say Amen (Saturday Night) lyrics © Sony/atv Tunes Llc, Sony/atv Songs Llc, Listen To This Shhh, Songs From The Boardwalk, Lolopritch Music, Mighty Seven, Lord Boyce, Call Me Bipolarbear Publishing, Conscious Pop, Songs Of Reach Music, Kmr Music Royalties Ii Scsp, Big Deal Beats (big Deal), Sinclair Empire, Hipgnosis Songs Fund Limited