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lindyhunt · 6 years ago

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From Stephan James to Bülow, Meet This Year’s Rising Stars

In our Winter issue, FASHION editors rounded up the 100 people, products and experiences we think will blow up in 2019. It’s our inaugural Hot 100 Fuse List. From the workouts you’ll be doing, to the new designers and artists you’ll see on your feed, this is your guide to being in the know this year. These are the next young actors, musicians and entertainers who will be taking over Hollywood.

Photography via Shutterstock

65. Lamar Johnson

Younger (or just dance-obsessed) readers might remember Johnson’s impressive moves from the Family Channel favourite The Next Step. But going forward, people will remember Johnson, who hails from the Six, for his vulnerable and powerful roles in the urgent The Hate U Give and Native Son, not to mention the new X-Men flick Dark Phoenix. But don’t worry: The man can still dance. –Greg Hudson

Photography courtesy of Betsy

66. Betsy

Elizabeth Humfrey looks more like a designer for Balenciaga than a girl who grew up on a goose farm in rural Wales, but both things happen to be true. Humfrey, better known by her stage name Betsy, launched her career on the heels of a stint at the Parisian fashion house and a degree from the revered Central St. Martins in London. Catch her if you can. Armed with a bunch of fierce ballads and a voice that could stop Cher in her tracks, this diva won’t be kept down on the farm. –Jeremy Freed

Photography via Shutterstock

67. Stephan James

In 2018, James starred in If Beale Street Could Talk, Barry Jenkins’s follow-up to the Oscar-winning Moonlight. He also starred in Amazon’s drama series Homecoming, opposite needs-no-introduction Julia Roberts. It was, by all measures, a big year for any actor but especially for one who is still shy of his 25th birthday. “I’ve been lucky to be a part of a lot of really cool things, and there are a lot of projects that are coming my way now, which is really cool,” James says. Both of these projects premiered at the 2018 Toronto International Film Festival (TIFF) to critical acclaim, a moment especially poignant for the Scarborough, Ont., native.

“TIFF has always been one of my favourite times of the year,” he says. James, who got his start back in 2010 as an actor on Degrassi: The Next Generation, will appear next year in 17 Bridges alongside Chadwick Boseman, Sienna Miller, Taylor Kitsch and J. K. Simmons. “I’ve never done a film with this level of action,” he says. “So it’s an exciting film.” It’s probably safe to say that James can expect many more exciting firsts in the years to come. –Pahull Bains

Photography by Luke Raymond

68. bülow

In 2017, Megan Bülow was a virtually unknown 17-year-old high-school student in Holland. Then she released her first song, a synth-saturated, anti-romance anthem titled “Not a Love Song” that had music journalists across the web calling her a “pop genius.” The song went viral on SoundCloud and Spotify, but bülow (she dropped her first name and the capital B for her new gig in the spotlight) had to finish her senior year before becoming a full-fledged pop star. She wrote her final exams, and then the German-Canadian singer-songwriter moved to Toronto. The city welcomed her with open arms: bülow starred in Roots’s 2018 Sweatstyle campaign, performed at the iHeartRadio MMVAs and headlined a show at the iconic Mod Club. Up next? After her two successful EPs, fans are anxiously awaiting a full-length bülow album. We’re hoping 2019 will be the year. –Meghan McKenna

Photography via Shutterstock

69. Elizabeth Debicki

This statuesque Australian actress is no new kid on the block—you might remember her as Jordan Baker in The Great Gatsby or the gold-dipped Ayesha in Guardians of the Galaxy Vol. 2—but this is the year we can expect to see her catapult firmly into the spotlight. At TIFF, it was impossible to hear any chatter about Widows—the buzzy new thriller from Steve McQueen—that didn’t involve ebullient praise of Debicki’s performance. And that wasn’t her only big TIFF premiere of the year. The 28-year-old actress also stars as a fragile but incandescent Virginia Woolf in Vita and Virginia.–Pahull Bains

Photography by by COLIN MEDLEY

70. Mouthpiece

There is plenty the world doesn’t agree on these days, but there is perhaps no topic quite as contentious and thorny as feminism. Which is why Toronto-based playwrights/actors Amy Nostbakken and Norah Sadava’s film Mouthpiece is so remarkable. In the film, which is an adaptation of their 2015 play, Nostbakken and Sadava play two often-sparring versions of the same character’s internal monologue. The story follows Cassandra as she grapples with the reality of her mother’s sudden death, reflecting on how her mother’s own feminism shaped her. “Social media has created this condition of extreme views,” says Sadava. “We’ve stopped giving ourselves time to process anything because it’s just about reacting. This film shows a woman processing difficult things. We need to start that internal monologue again.” –Pahull Bains

Photography by Alexander Shabazz

71. Karena Evans

You know Karena Evans’s work even if you don’t know you know Karena Evans’s work. The Toronto native directed four of Drake’s 2018 music videos: “God’s Plan,” “Nice for What,” “I’m Upset” and “In My Feelings” as well as the video for SZA’s “Garden (Say It Like Dat)” featuring Donald Glover. Not content to just stay behind the camera, this past year she also starred in two feature films—Every Day and Firecrackers, the latter of which premiered at TIFF—and has a recurring role in Mary Kills People. Not too shabby for a 23-year-old. –Pahull Bains

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jessicakehoe · 6 years ago

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From Stephan James to Bülow, Meet This Year’s Rising Stars

Photography via Shutterstock

65. Lamar Johnson

Photography courtesy of Betsy

66. Betsy

Photography via Shutterstock

67. Stephan James

Photography by Luke Raymond

68. bülow

Photography via Shutterstock

69. Elizabeth Debicki

Photography by by COLIN MEDLEY

70. Mouthpiece

Photography by Alexander Shabazz

71. Karena Evans

The post From Stephan James to Bülow, Meet This Year’s Rising Stars appeared first on FASHION Magazine.

From Stephan James to Bülow, Meet This Year’s Rising Stars published first on https://borboletabags.tumblr.com/

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365footballorg-blog · 7 years ago

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Boehm: Saturday's visit to Red Bulls is a key litmus test for Chicago Fire

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April 19, 20187:06PM EDT

What is Week 8’s can’t-miss match?

Beyond the necessary advisory that we here at MLSsoccer.com value every single MLS game equally, just like a parent loves each child, several items on the weekend schedule draw the eye.

Vancouver’s Friday night visit to Sporting KC should be fun. Columbus need to arrest a three-game losing skid when the New England Revolution hit Cowtown. The star-studded LA Galaxy-Atlanta United matchup will suck up a lot of oxygen, and Seattle and Portland host big national-TV games on Sunday.

But I’ve got New York Red Bulls vs. Chicago Fire (Saturday, 3:30 pm ET | Univision, Twitter in US, MLS LIVE on DAZN in Canada) circled in red ink, and not just because of both clubs’ colors.

To be brutally honest, it’s mostly about the visitors.

The Fire were one of the top teams in the league for most of 2017, reeling off an 11-game unbeaten streak (8-0-3) from mid-May to early July and keeping pace with mighty Toronto FC in the Supporters’ Shield race deep into the dog days of summer.

The head-turning arrival of Bastian Schweinsteiger, and the maturation of the plans laid by coach Veljko Paunovic and GM Nelson Rodriguez, restored the competitiveness of a proud club fallen on years of hard times, making the All-Star Game vs. Real Madrid at Soldier Field a worthy celebration of a great soccer city that had finally vaulted itself back into the national conversation.

That framed this season as a second act, another shot at wreaking havoc among the MLS elite with headliners like Schweinsteiger, Golden Boot holder Nemanja Nikolic and midfield metronome Dax McCarty. But the Men in Red have hardly hit the ground running, slumping to a 1-3-1 start marked by dropping eight of the 12 points on offer at their Toyota Park home, which we learned on Thursday will become SeatGeek Stadium at season’s end.

To seize on the lame but inevitable pun: The Fire have work to do to make theirs a red-hot ticket, and to convince the rest of MLS that they’re for real in 2018.

McCarty and Schweinsteiger | USA Today Sports Images

Last year’s success was built around the iron central midfield triangle of Schweinsteiger, McCarty and loanee Juninho, which provided a solid foundation for the creativity and dynamism of David Accam and Michael de Leeuw to serve Nikolic’s rapier-sharp finishing.

But Juninho returned to Club Tijuana over the winter, Accam was traded to Philadelphia and de Leeuw is out long-term with an ACL injury. The club certainly didn’t stand pat, bringing in Aleksandar Katai, Alan Gordon and a host of younger names in the offseason, even if Rodriguez himself has called the current roster “incomplete.” Yet the new version of the Fire has thus far looked like a pale shadow of last year’s best, and it hasn’t helped that regulars like Matt Polster, Luis Solignac and Djordje Mihailovic have been sidelined by injury.

Saturday’s visit from Zlatan Ibrahimovic and the LA Galaxy showed both what’s possible and what’s problematic in Chicago. A sellout crowd braved a nasty cold front to cheer their team on against MLS royalty in front of a national-television audience, and the Fire kept pace with and at times roundly outpaced the Galaxy. Yet when a clutch moment was required, it was Ibrahimovic rising over Schweinsteiger to nod home the game-winner from six yards out.

That disheartening moment distilled several of the challenges facing Paunovic at present. Capitalizing on a moment of broken play, LA left back Ashley Cole was able to pick up a loose ball in acres of space, a pocket opening up between right wingback Johan Kappelhof and rookie midfielder Elliot Collier in the Fire’s 5-3-2 that gave Cole ample opportunity to ping a sharp cross onto Zlatan’s famous head.

The delivery cut out Schweinsteiger, who’s brought useful organizational skills in his new sweeper role but is simply not a natural center back. And it left McCarty, Kappelhof and Jonathan Campbell, the central triangle that anchored last year’s defensive shape, helpless, hapless bystanders. Moving his German World Cup winner deeper helped to plug some leaks after Chicago conceded five goals in their opening two games. But Paunovic has seen it set off dominoes elsewhere, with Collier, Tony Tchani and Katai not quite filling the shoes of their predecessors and Nikolic forced to adapt to a new lay of the land up front.

“We’re below average right now and the results speak to that,” said McCarty postgame. “It’s not easy times right now, we’re just lacking a little bit of quality all over the field. That’s the brutal, honest truth. You have to be honest with yourself. When you reflect on teams and on games, you have to be honest and say that we’ve been second-best most of the season.”

There’s been a minor stir around Toyota Park this week because of how markedly those words contrasted with Paunovic’s mostly positive talk of “growing” and “getting better.” But when a respected veteran like McCarty speaks this way, people listen, and rightly so.

Granted, it’s possible for both of them to be right here, though the situation does point to the urgency that hangs over the Fire – or should, at least.

Schweinsteiger remains the key cog in this machine. He turns 34 in August and his body showed difficulties with the MLS grind down the stretch last year. He can be Chicago’s man of the match in just about any position on the pitch – “he can even play as a goalkeeper,” joked Paunovic last week. But if you remove him from the engine room, it leaves a hole that few in MLS, let alone the Windy City, can fill.

Chicago have been linked to the likes of Lee Nguyen and Juan Quintero and Iker Casillas and Fernando Torres – and others – in recent months. They still have time to make moves before the MLS primary transfer window closes on May 1, and there’s always the summer market, too. In the meantime, however, Paunovic can squeeze plenty more out of what he’s already got, and with the Fire already near the back of the Eastern Conference pack, he needs to do so quickly.

McCarty clashes with RBNY’s Tyler Adams during the 2017 Knockout Round | USA Today Sports Images

Saturday’s visit to Red Bull Arena, where RBNY’s home-field advantage is as strong as any in the league, would be a perfect time to catch a spark. It’s a chance for revenge, as it marks these teams’ first meeting since the Red Bulls rudely, emphatically and prematurely ended the Fire’s 2017 MLS Cup Playoffs run with a 4-0 upset last fall, the latest in their seven-game unbeaten streak vs. Chicago. And it’s a big stage on which to make a statement, with a wide audience on Univision and Twitter, the second of Chicago’s five scheduled appearances on national TV.

A formation change? Improvement from the current XI? Fresh blood off the bench like Jon Bakero or Daniel Johnson? Paunovic and Schweinsteiger have faced and conquered far bigger challenges than this in their careers, but this is their next one.

“We have not been in good form, even though there have been improvements in terms of generating game and possession. Now we face one of the best teams in the league in their stadium. It won’t be easy, but we do not lack in courage and motivation because this is a great opportunity to show our improvement,” Paunovic said this week.

“Anyone can beat anyone in this league, and even if we have not had good performances against them, it is a good opportunity to hit them right in the heart, meaning in their own stadium, where they feel comfortable.”

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Boehm: Saturday's visit to Red Bulls is a key litmus test for Chicago Fire was originally published on 365 Football

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ripstocking · 7 years ago

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Austin: A native of Chicago, Michael Smith emerged in New York in the late ‘70s, performing in both non-profit art spaces like The Kitchen and Artists Space, and in small nightclubs and cabarets. Smith is one of the first artists not to be afraid to confront the forms of television entertainment. His entire production revolves around Mike, his alter ego, the protagonist of performances, videos and installations that replicate the generic interiors of sitcoms.

Mike is the average American: clumsy, enterprising, motivated by the desire to succeed and excited by the taste for business. Smith shapes an aesthetics of failure, perhaps animated by the feeling of inadequacy towards TV that the artist confesses he felt as a child. Indeed, like all good comedians, the ability to make the audience laugh is to stage a farce in which the distinction between the fictional character and the real actor is never clear.

In his career, Smith has collaborated with other artists including Mike Kelley, Joshua White and William Wegman. His work has been presented and exhibited in galleries, theatres, universities, clubs, on television and in museums such as MoMA, the Metropolitan and the Whitney in New York, Le Consortium, Dijon, and the Kunstverein, Munich. He has taught at Columbia University and Yale and is currently a Professor at the University of Austin, Texas, where he spends most of his time in a small house full of rainbows.

How did you start collecting rainbows and why?

I needed a little hope in my life, not to mention a little colour in my home.

It started as kind of a fluke, a kitschy sort of gesture. Then I got into it. Friends started giving me rainbows. Not too long after, I learned that if you bring rainbows into your life, unicorns will follow.

You live between Brooklyn, where you also have a studio, and Austin, where you are a professor at the University of Texas. Which of the two places do you prefer?

To be honest, no matter where I am, it always seems like I am in my underwear in front of the computer. The reason I moved to Austin was because of my job. Much of my time there revolves around teaching and recovering from travelling, since I am on a plane every two weeks. When school is not in session, I go back to NYC, the place where most of my old friends and family live. I’ve lived there for 35 years, so it feels like my home.

Can you list all the places you’ve lived in?

I grew up in Chicago and lived there until I was 17. Then I went to college in Colorado and was there until I was 19. For the next five years I was between Colorado, NYC and Chicago. When I finished my studies in Colorado and earned my undergraduate degree, I knew that I was not ready to go back to NYC and moved back to Chicago to work for my father in his real estate business. That lasted four months and I made a lateral move to delivering pizzas and trying to figure out what to do next in the studio after realising I was no longer a painter. In 1976 I moved to NYC, and eventually to Brooklyn. Oh, and in 1997 I lived in Los Angeles for about six months when I was teaching at various art schools around the city.

What about the homes you’ve lived in? Do you have a favourite?

I lived in an office building in Chicago after college. Two other friends and I rented the entire second floor for $100 a month. There were about 10 offices and two bathrooms connected by a 120-foot-long hallway. Lots of windows and each of us paid only $35 a month. Oh, the good old days.

Do you you use to carry objects and furniture with you when you move, or do you find new stuff every time you settle in a new place?

It all depends on how far I’m moving, but for the most part, other than a mattress and some knick-knacks, I eventually get new stuff.

Currently, my favourite TV show is Storage Wars, a reality show where a group of people meet in front of storage units whose tenants have stopped paying the rent, and start bidding to win what’s inside without even seeing it. Are you familiar with that? Do you agree with me that storage has become a symbol of American culture?

I like that show a lot too. What fascinates me is how the people immediately calculate the value of their purchases, as if inventorying translates into immediate cash. It is really wishful, deluded thinking. As for becoming a symbol of American culture, I’m not so sure I see that, but I do think it is indicative of a precarious economic situation that the US and much of the world is experiencing these days.

Am I right in saying that the objects that people normally put in storage units play a major role in your artistic production?

Much of my work has been developed from and built out of discarded objects. Many of the props I use were things I collected. I cannot and do not try to assume what these things meant for others and try to figure out what they mean for me. Storage, however, plays a large role in my life; what to do with all the boxes of crap with the details for my immersive installations.

How did performance help you, through stand-up comedy, to question TV in the first place?

TV helped me to question performance art more than performance art helped me to question TV. I do not question TV. I accept that it exists, even though I may not like the majority of the content I see broadcasted or cablecasted. Stand-up comedy provided an interesting and totally different model to work off, rather than the serious performance art model in vogue around the art world back in the mid-‘70s. Also, stand-up allowed me to consider and accept non-sequiturs as a way to connect widely unrelated ideas.

‘Mike’ is a fake persona you’ve been using in most of your artworks. Is he your alter ego or, as you said in a conversation with Mike Kelley, a ‘vehicle’ for you, ‘an empty shell?’

Mike is a convenient vehicle that I still use today. It seems like we are getting old together. Much of my work is self-reflexive, like much of the television and art of my generation, and what better way to underline this idea than to use a persona that goes by the same name as yourself?

Please tell me the five adjectives that best describe Mike.

Hopeful, slow, innocent, oblivious and trusting.

You emerged in New York in the late ‘70s. Other artists started to question mass media and TV in those same years. I am thinking of Richard Prince, Jack Goldstein, Barbara Kruger and especially Dara Birnbaum. How different was your research in comparison with that of the Pictures Generation?

A big difference is that I made original television programs. They borrowed, copied, re-presented and repurposed old TV. I did this too, but primarily by using the formats and structures from old, well-worn and familiar TV genres.

TV was present in your work since the beginning, even when you were performing. In Down in the Rec Room (1979), at Artists Space, you tune in some TV programs within a reconstruction of a generic American domestic setting. How did you select them?

I think it was the embarrassment quotient of those shows that originally drew me to them, but also, their pop look and feel of each.

The documentation of that performance has been mounted as a narrative video. Has video helped you to add something to the performance?

It was the first video of a performance I reworked and re-purposed and also the video that allowed me to go further and produce Secret Horror. Video in general has allowed me to experience the limits of performance.

Secret Horror (1980) is constructed as a sitcom, like many other of your following videos. Mike has a nightmare in which some ghosts force him to take a TV quiz introduced by a voice-over saying ‘We moved his entire living room down to the studio’. Is that just a nightmare or is this what happens when we watch TV, that our living room becomes a TV studio?

It is set up as a dream and in relation to the story, it most likely telegraphs the idea that TV is a kind of opiate. But when writing a piece, a dream is a convenient device to move a story forward and to connect unrelated images and ideas.

A major role in Secret Horror is played by the grid, which is a planimetric model of how American cities and homes are built, but it is also symbolic of how lives are organised into preconceived structures. Is my interpretation too conceptual?

No, I thought of this, but it was also a very literal translation of experiencing my local bank renovate and convert a beautiful, old vaulted ceiling bank building into a bland, drop-ceiling office space.

What specific TV interiors mostly influenced the interiors where Mike lives?

‘50s and ‘60s American sitcom sets.

In 1983 you worked around the idea of the shelter, with a video, Mike Builds a Shelter, and an installation, Government Approved Home Fallout Shelter and Snack Bar. To me, it looks like another experiment on interiors, an exploration of what we need at home to be happy without going outside.

Happy? I think the shelter is more about feeling secure. If security means happiness, I agree with you.

Then you did Go For it, Mike (1984), with Mark Fisher, one of your most entertaining videos. It’s the story of a ‘regular guy’ from a small town who becomes first the most popular guy in the school and later a successful entrepreneur, which is also the story of the American dream, from the Far West to the Ford. What role have cinema and TV played in shaping this dream?

It is an understatement to say that cinema and TV have played a role in shaping the American dream. When I made Go For It, Mike, President Reagan was about to run his ‘Morning in America’ campaign ads, political advertisements showing bankrupt Americana images of the western range, the rugged individualist, family religion and the flag, together promoting a message that talked about simpler times in America.

The video Mike (1987) begins in black and white with Mike looking at the camera and saying: ‘It seemed to be another regular day, but a voice kept telling me: ‘this is going to be the first day of the rest of your life’’. Who’s voice is that?

It was my voice. I would have preferred to hire a professional voice-over person, but I never got it together. I wanted a voice that gave a feeling of authority and disengagement, kind of an omnipotent voice. I later learned that in voice-over terminology it is called the voice of God.

How much do you think what we see in TV influences the way we build our identity, both in private and in public?

I do not have a clue how much or little it influences our identities. However, as for me, when I was a young child, it succeeded in giving me a feeling of inadequacy. For others I hope it has sent a more positive message.

Mike’s clothes reflect the generic taste he has for furniture and decoration. Can we talk about the interiors in Mike’s videos as a living uniform?

Generic and bland, mixed with the homey and some splashes of colour, is what I hope to bring to the Mike mise-en-scène.

Do you think art should be entertaining?

It depends what you think entertaining means. I think art engages its audience on various levels. If it also means entertaining an audience, then sure: why not entertain? To say that a mandatory goal of art is to entertain… I do not think I agree with that.

In a conversation with Dan Graham for Artforum in 2004, you talk about Eric Bogosian and Laurie Anderson as ‘two artists who successfully made the transition’ from art to mass media. Have you ever been interested in doing the same?

Yes, I was very interested in trying to cross over at a particular time during my career. I figured if I am doing comedy, why not see how it worked in front of a more general audience. In the mid ‘80s to the early ‘90s I co-produced two variety shows, Mike’s Talent Show and Mike’s Big TV Show, at very mainstream NY nightclubs. I had a manager, an agent and my own cable special on Cinemax. In 1991-1992, I developed in workshops a children’s show called Mike’s Kiddie Show. It went nowhere. I realised I was not interested in producing TV for children, but was more interested in doing juvenile shows for adults. From 1992 to 1996, I did puppet shows with Doug Skinner called Doug and Mike’s Adult Entertainment. I thought it was the funniest material I’ve done over the years and thought for sure we would be able to find a larger audience but potty humour stopped us from moving more into the mainstream. South Park and Beavis and Butthead came around a little later and successfully explored and developed that niche. By the way, the video Mike was produced for Saturday Night Live.

Among the people you’ve collaborated with, a special place is occupied by Joshua White, known for his legendary Joshua Light Show, an environmental light show that used to accompany live psychedelic concerts in the late ‘60s and is still touring the world. When did your collaboration begin and how does he contribute to your work?

Our collaboration began in 1992 when he directed the Doug and Mike puppet shows. We first met a few years earlier, when he saw one of my variety shows in a club and offered his services on future projects. Later I got the idea for Mus-co (1997), after hearing his stories and experience as a famous light show artist. For many of our collaborations Joshua designed the installations, but he was also very involved with developing the concepts, directing all the videos and capturing a look and feel that was totally convincing, not to mention very successful. Our last project was Mike’s World in 2007.

A Voyage of Growth and Discovery (2009) is a video/installation/performance project that you and Mike Kelley presented at the Sculpture Center, New York. It features videos of you, dressed as a baby, wandering through the desert at the Burning Man Festival. What did you guys find there?

We were looking for a very colourful and active backdrop for the baby, a character who for the most part does very little. The baby basically wandered through the festival looking for distraction and/or something to put in his mouth.

Did you think about the way you presented that work in sculptural terms?

Mike [Kelley] was responsible for designing the installation. I was more responsible for producing the videotape at the festival. Mike did not go and that was probably a good thing. He was not the best traveller. For the installation, we used video on multiple screens to recreate the atmosphere and intensity of the original festival. We wanted it to be immersive for the viewer.

People use to refer to your work as parody. However, most of it doesn’t necessarily look critical. Isn’t it more as if you’re trying to understand how that mechanism of media entertainment works?

I use parody and also satire. At times I hope to reveal the mechanism of media but it depends on the project. All in all, I hope my work operates on various levels and the viewer is able to engage in one way or another.

I think your work is more relevant than ever today, in the age of digital media and the Internet. Indeed, your research was never just about TV, but about the way we use fictional narratives to create our identity, which is something people are still doing online, now that they have the means to create their own entertainment.

Thank you.

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haulix · 7 years ago

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New openings (8/27/17)

Coordinator Music and Media Licensing (Viacom - NYC)

Work across multiple clearance teams on projects assigned by Vice Presidents and Team Leaders. Projects could include long and short form programming for linear and digital platforms, promos, third party productions, in house productions, re-clearances and more.

Publications Manager (Aspen Music Festival - Aspen, CO)

The Aspen Music Festival and School seeks an experienced arts publications manager to create a wide variety of effective marketing and storytelling publications to meet its marketing and communications goals.

The publications manager oversees all of the Festival’s marketing pieces, including the season brochures, Festival magazine, annual report, and recruitment pieces, as well as all ads, promotional posters, banners, postcards, flyers, stationery, and internal reports. To create these publications, the Publications Manager is responsible for understanding the goals and target tone of each piece, engendering collaboration among departments, creating and managing the production schedule, writing the copy, choosing the photos, working with an outside graphic designer, overseeing all revisions, staying within budget, and handling printing and distribution. Powerful editorial, advertorial, and marketing writing skills, and exacting attention to detail are a must–this person is the final set of eyes on any project before it goes to print.

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This employee works integrally with a highly coordinated five-person marketing and public relations team. Collectively the department’s goal is to enhance the international reputation of the institution, communicate beautifully with all constituencies, and ensure the success of each event. The job is full time and year-round in Aspen, Colorado.

Marketing Manager (Boston Symphony Orchestra)

We have an exciting opportunity for a Marketing Manager to join our team. You will assist in implementing the overall marketing campaigns for the Boston Symphony Orchestra, Spring and Holiday Pops Orchestras, and Tanglewood seasonal brands, as well as other programs of BSO, Inc. In this key role you will be responsible for overseeing and implementing the advertising plan for all media formats working closely with our outside media buying agency to drive sales, create brand visibility, and expand audiences. In addition you will play a supportive role to strategic planning, and assist in the implementation of direct mail and email campaigns, planning special and promotional events, coordination of printed communications materials, database management, and administrative duties within the department.

Associate Manager, Integrated Marketing (Westwood One - NYC)

As a valuable member of Westwood One’s Integrated Marketing team, the Associate Manager will be tasked with ideating and executing custom integrated marketing solutions for our clients, facilitate affiliated sales and show collateral, in addition to creating and executing promotions across the Westwood One radio network. This position requires a creative thinker and problem solver with great time management skills and the ability to collaborate across departments and work seamlessly across a robust network of media properties.

Brand Marketing Manager, Creative Activation (Google - San Francisco)

The Brand Studio is a passionate team of creative thinkers tasked with shaping the future of Google brands by deepening the love of our users. As part of this team, you work with many kinds of creative thinkers all tasked with ensuring creative excellence across the Google Marketing landscape. Your goal is to deliver one integrated Google brand experience, and to better define the Google Marketing way. By embracing user insights, strategic thinking, and beautiful design paired with provocative execution, you strive to create delightfully intuitive (and delightfully inventive!) experiences that will define the future of our brand.

As partner to our creative and strategy leads the Brand Marketing, Creative Activations, Brand Studio will utilize honed creative instincts to ensure the internal teams, creative environment and external partners are all optimized and nurtured to allow for our best work to take place. Using best practices, keen judgment and industry knowledge to support, optimize and shepherd the very best work of their career.

Marketing Manager, US Latin (Sony - NYC)

The Orchard has an immediate opening for a NYC-based Marketing Manager, US Latin. The position will act as a relationship manager for retail accounts in the USA focused on Latin content. The ideal candidate will successfully enhance the company’s operations and profile, driving revenue within the current retail base.

Coordinator, Global Brand Licensing (WMG - NYC)

A variety of personalities, we are a small but mighty team that is nimble, proactive, and not shy to find and secure deals for our artists. Our deals are often rooted in traditional licensed product, but have grown beyond core licensing to include collaborations, campaigns, etc. Whether it is at trade shows or special events we are at the forefront to help serve artists across our roster in any capacity that helps build their brand. This role will be working with the entire team in varied capacities and across the diverse roster that include artists such as Wiz Khalifa and Shawn Mendes to the Grateful Dead and Green Day. Internally, this person will help keep the team on track as it relates to product development, scheduling, sales material creation and upkeep, and general organization. Externally, this role will serve as the first line of defense and main point of contact as it relates to all product collaboration and development with our 100+ licensees, brands, and manufacturers.

Vice President of Artist Marketing (Fender - Los Angeles)

We are currently searching for a talented Vice President – Artist Marketing to join our global marketing team, reporting to the CMO. Our goal is to position Fender as a world-class marketing partner to the artists who are moving music forward. In this role, you will set the over-arching strategy for how Fender supports and works with artists to drive the brand, across product, marketing, sales and consumer-based touch-points, ensuring world-class service, creating mutually-beneficial product seeding and product marketing initiatives, and identifying new growth opportunities for Fender artists and Fender brand development across Fender channels, artist channels, earned/owned media, partnerships and retail.

Development Events Coordinator (San Francisco Symphony)

Reporting to the Director of Development Analytics and Stewardship, this position contributes to the success of the San Francisco Symphony’s fundraising efforts by coordinating logistics for high profile events and development committee meetings, managing the Development master events calendar, and providing impeccable stewardship efforts to SFS patrons. The Event Coordinator will work within a dynamic and fast-paced environment to bring SFS patrons closer to the organization through a series of exciting membership events at all levels of giving.

Assistant Stage Manager (Tucson Symphony Orchestra)

The Assistant Stage Manager of the Tucson Symphony Orchestra is responsible for the organization and physical condition of the stage area.

Music Playlist Curator (i.am+ - Los Angeles)

Be part of a hyper-growth team of creatives and technologists redefining the future of voice A.I. We are seeking a music tastemaker and community advocate to curate our catalogue of millions of songs into hearable moments in time. You will have creative independence to research what customers of various demographics want to hear and then build customized music profiles that result in an engaging listening experience.

Part-Time Music Researcher (BMI - Location TBD)

Broadcast Music Incorporated (BMI) seeks team members who have a passion for delivering excellent customer service both internally and externally to those we serve. For 70+ years we have been a global leader in rights management. We are an American performing rights organization that represents 400,000 + songwriters, composers and music publishers in all genres of music and more than 6.5 million works. We are proud to have the responsibility of collecting license fees from businesses that use music. We then distribute those funds (royalties) to the musical creators and copyright owners we represent. Without BMI and the work we do, many of those we represent would not be able to live their passion and get paid for doing so.

Music Director (Wallingford Chorus - Wallingford, CT)

We are seeking a Musical Director eager to work with us to usher in the next evolution of our chorus.The ideal candidate will not only lead productive rehearsals and teach us the best way to interpret the music, s/he will also be an active advocate for the chorus. S/he will work with the board to build relationships within the community and to expand our network with other performing groups, instrumentalists, and soloists. The musical director will be an integral part of our goal to creatively collaborate with other singers and musicians in an effort to attract new chorus members and new audience members to musical performances in Wallingford.

This will be a 6-month, contracted engagement which will start on December 1, 2017. The December start date is intended to give the new director at least one month to prepare for the Spring 2018 semester which will begin rehearsal on January 9, 2018. The contract will end at the closing of our Spring concert tentatively scheduled for May 19, 2018.

At the end of the engagement, upon mutual agreement by the musical director and the chorus, there may be the opportunity to renew the contract for the full 2018-2019 concert season.

Artist Assistant / Social Media Content Creator (VIBR8 - Miami)

We are looking for a human with an aesthetic eye and a magic touch. We value bold artistic expression and creativity.

You should be comfortable behind the camera(phone) and posses the ability to create / edit dynamic social media content.

You should be a fan of music at the very least - in-depth knowledge / passion related to current pop / EDM / hip hop a huge PLUS.

You should be digitally savvy, quick on your feet and an all around vibey person!

License Manager (ClearBox Rights, LLC - Nashville)

Oversee and negotiate all license activity for all ClearBox clients. Oversee all ex-North America licenses, negotiate blanket licenses, facilitate all digital licenses and settlements, lead through newly developed license methods.

On-Air Talent at 93.3 WFLS (Alpha Media - Fredericksburg, VA)

We are looking for a talented part-time On-Air Talent for 93.3 WFLS. The ideal candidate is an experienced on-air personality who is flexible for live broadcasts on weekends and cover staff vacations. The right person understands the interaction between the talent, clients, and the audience are a vital part of the station’s ratings and success.

Broadcast On Air Personality (Three Rivers Media - Wytheville, VA)

Creates, produces and announces topics on the radio, including music, entertainment, politics, news, weather, sports, traffic and other topics of interest. Assists the day-to-day technical operations of a federally-licensed, community-operated radio station and its various sub-units. Participates in the development and administration of strategic and operating plans, and evaluates programs for compliance with the overall mission of the station.

Music Journalist (ALARM Magazine - Chicago)

Since 1995 ALARM Magazine has covered the most interesting working musicians & artists.

We're looking for a recurring contributor to conduct Q&A format interviews with current, interesting musicians. The ideal author will be able to quickly (200 - 300 words) introduce the artist, put their work into context and illustrate why their work is relevant and interesting in an engaging way (charm, wit.)

Interviews will then turn into Q&A format (approx 1,500 - 2,000 words), asking interesting, specific, and unique questions of the artist.

We are looking for an author that can contribute 1 to 2 interviews a week and is familiar with Wordpress.

Applicants must have previous related experience and be familiar with working with music publicists.

On-Air Production Manager (Epix - NYC)

The On-Air Production Manager will serve as the Creative Services point person on promotional materials for the original programming slate. S/he will serve as a conduit to other departments before, during and after content creation to ensure the necessary source and final materials are delivered in a timely and efficient manner. The candidate must have prior experience working on original scripted series, and be detailed oriented with excellent organizational, multi-tasking, professionalism, and communication skills.

Writer/Producer, Podcast Content (Amazon - Grand Haven, MI)

Are you a script writer, producer of audio dramas, audio journalist, or a successful podcaster? If you understand how to reach an audience with your original content, you love books, and you want to work in a creative collaborative environment, we’re looking for you!

Brilliance Publishing is part of the Amazon.com family of companies and we are looking for an experienced and talented Writer/Producer to join our team. In this new role, you will collaboratively lead others, as well as have a hands-on role in creation of content.

You will need to be able to intuitively assess book-related content, be effective in hosting interviews (including authors or celebrities), and be able to script content to share stories with a podcast audience. Ideal candidates will have creative writing and broadcast/podcast experience. A unique qualification will be a demonstrative passion for books and for working with other creative writers and audio professionals.

Director of Sponsorship Sales (Live Nation - Grand Rapids, MI)

This successful Director of Sponsorship Sales will be responsible for creating and selling branded, high-impact music marketing programs across the Grand Rapids market.

Older posts (7+ Days)

Director, Product Management & Partner Marketing, North America(Kobalt - Los Angeles)

The Director of Product Management & Partner Marketing will manage primary communication and lead the marketing efforts for Kobalt Music Recordings / AWAL+ developing artists and partners who release multiple projects with us. The Director will provide marketing strategy, expertise and guide artist development efforts for artist, label, management, and producer clients. This position will work closely with the global marketing team to advance artists’ careers upstream through Kobalt Music Recordings / AWAL’s artist categories. Additionally, this role will product manage select clients from the Kobalt Music Recordings roster.

Coordinator, Marketing & New Business (Sony - Nashville)

Consider this rewarding position as the Marketing and New Business Coordinator at Sony Music Nashville where you will support international marketing efforts, help implement brand partnerships, and provide administrative support for marketing efforts that create exposure for our roster of industry-leading artists.

Marketing Manager (AEG Live Bowery Presents - NYC)

The Manager Marketing is responsible for all marketing assets for shows on calendar. This position will work in conjunction with artist management, Radio/TV, and marketing team to create and develop an effective marketing plan that will reach the correct demographic and target customers appropriate for each show. The Marketing Manager will develop graphic content used to inform the general public of shows for the purpose of gaining ticket sales. This position will also be responsible for maintaining and tracking budgets to make sure funds are allocated correctly. The Marketing Manager will oversee social media accounts and ensure they are up to date with engaging material.

Coordinator, Creative Group (Sony - NYC)

The Coordinator, Creative Group is responsible for supporting a Vice President of Design, as well as working with the Associate Director of Administration to coordinate photo shoots, process invoices, and handle a variety of administration duties for the assigned design team.

Special Events / Outreach Coordinator (Harris Academy of the Arts - Lincoln, NE)

We are looking for a Special Events/Outreach Coordinator who is willing to go above and beyond, not only overseeing the hiring of musicians and coordination of our professional performances but to also assist in spreading the word about the daily magic occurring with our students at HAA.

Digital Marketing Manager (Madison Square Garden - NYC)

The Digital Marketing Manager will be responsible for all aspects of the Forum’s online presence. In additional to writing and creating content, this person will identify the best current and emerging digital platforms for all engagements, sale and marketing efforts, and best engagement experiences for fans and driving ticket sales. He/She will do this by understanding and utilizing marketing mix learning, consumer insights, communication strategy and thinking, data driven analysis and industry and marketplace knowledge.

Director of Marketing - Mobile (Yonder Music - NYC)

Yonder Music is looking for a talented Director of Marketing - Mobile to join its growing team. Must have Mobile, Facebook campaigns, Google Analytics, Push Notifications experience. This role is a full-time professional position that guides the marketing team in strategy, execution and business insights to help grow our monthly active user base. This position reports to the President & CTO.

E-Commerce Website Manager (JAM - Bloomfield, CT)

KMC Music has an immediate opening for an E-Commerce Website Manager. KMC OnLine is an integral component to KMC’s success. The individual that holds this position would be responsible for maximizing the effectiveness of this site to increase sales and service to KMC’s dealer base.

Sales and Marketing Music Representative (JW Pepper and Son - Bismarck, ND)

Join the marketing team with a sheet music company that’s been in existence for over 140 years. Requirements include good oral and written communication skills, proficiency in Microsoft Office applications and knowledge of performance and/or educational music.

Music Marketing Coordinator (Urban Outfitters - PA)

The Music Marketing Coordinator is a critical role in developing and executing the creative objectives of UO by supporting and enhancing brand initiatives through music. This role requires a deep understanding of the UO brand and customer mindset in addition to understanding the landscape of the music marketplace. They will be a collaborative partner to the internal music team as well as a touch-point to external teams and partners.

Partner Manager, Content (TuneIn - San Francisco)

The Partner Manager on the Content team at TuneIn serves a critical role within this growing organization. They are on the front lines of broadcaster relations and act as a communication liaison to our existing programming partners. The position will include deal work associated with launching new content partnerships while supporting broadcasters promotional, editorial and ad sales campaigns within the TuneIn Directory. They will work to assist content providers on driving branding, editorial highlights, and revenue generating campaigns to ensure they are accurately represented on our platform. A collaborative team approach will be necessary to work as a liaison between content, marketing, product, ad sales, and third party content providers.

Music Stage Manager (UNC Charlotte)

Looking for a stage manager to run and manage all music performances in the College of Arts + Architecture during the Fall 2017 Academic Semester. Individual will be responsible to call/supervise all theatrical elements of each performance, including lights, sound, video, and stage hands. The stage manager will be responsible for the supervision of student run crews, who have a wide range of experience and skill. It is expected that the stage manager will practice industry standard norms along with following all UNCC policy and safety standards for the students workers, performers, and guests. The stage manager will utilize the most professional communication techniques in working with conductors, directors, faculty, staff, and students in order to ensure the best possible performance.

Director of Music Production (Quaver Music - Nashville)

Quavermusic.com, specializing in online software for music education, is seeking an individual ready to join an experienced and highly motivated team supporting thousands of elementary and middle schools worldwide. Primary duties include coordinating a team of researchers, writers, arrangers, and engineers to guide songs from concept to final track and online notation. Position will also interface with educators, graphic artists, animators, content developers, programmers, and videographers.

Creative and Promotion Coordinator or Manager (Wixen Music - Calabasas, CA)

Wixen Music Publishing, Inc. in Calabasas, CA seeks to add an experienced, full time coordinator or manager level person (dependent on experience), to its creative and promotion department. The ideal candidate has at least one year’s experience in the creative/film & TV departments at either a record label, publishing company or for a third party sync licensing company. Success in this position requires clear written and verbal communication, strong attention to detail, great organizational skills, being a motivated self-starter, and creating and nurturing lasting relationships with both the music supervision community and our songwriter and publisher clients. If you’ve always wanted to be a music supervisor, great! But this probably isn’t the job for you– we’re looking for someone that enjoys working with writers and artists and has a passion in creating opportunities for them in the sync world.

US Press Manager (Listen UP Online Promotions - Los Angeles)

We are currently recruiting for an experienced, well organized individual to join the Press team. You will be based in our fantastic Sunset Blvd offices with the added bonus of free parking! You must have 3+ years’ experience working within a similar environment with a keen interest in electronic music. If you are looking for a hands on role that gives you the opportunity to be involved in all aspects of music PR, we could be what you are looking for.

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