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2021 ◽  
Vol 2 ◽  
Author(s):  
Raymond J. St. Leger

Ingenious exploitation of transgenic approaches to produce malaria resistant or sterile mosquitoes, or hypervirulent mosquito pathogens, has produced many potential solutions to vector borne diseases. However, in spite of technological feasibility, it has not been determined how well these new methods will work, and how they should be tested and regulated. Some self-limiting transgenic fungal pathogens and mosquitoes are almost field ready, and may be easier to regulate than self-sustaining strategies. However, they require repeat sales and so must show business viability; low-cost mass production is just one of a number of technical constraints that are sometimes treated as an afterthought in technology deployment. No transgenic self-sustaining approach to anopheline control has ever been deployed because of unresolved ethical, social and regulatory issues. These overlapping issues include: 1) the transparency challenge, which requires public discourse, particularly in Africa where releases are proposed, to determine what society is willing to risk given the potential benefits; 2) the transboundary challenge, self-sustaining mosquitoes or pathogens are potentially capable of crossing national boundaries and irreversibly altering ecosystems, and 3) the risk assessment challenge. The polarized debate as to whether these technologies will ever be used to save lives is ongoing; they will founder without a political answer as to how do we interpret the precautionary principle, as exemplified in the Cartagena protocol, in the global context of technological changes.


2021 ◽  
Vol 4 (2) ◽  
pp. 158-175
Author(s):  
Andriy Budnyk ◽  
Katerina Polishchuk

The aim of the research is to analyze the formation of the artist’s image through the design of musical posters and records in the period of late socialism by borrowing the semantic component and formal techniques in foreign pop culture, including graphic design, which served as an important component. The research methodology is based on a logical-analytical tool of scientific knowledge. Scientific novelty. Previous research has been supplemented by the analysis of new empirical data, including the design of record covers, visual coincidences of primary sources and borrowings. The revealed facts will be useful for the further development of both modern Ukrainian design and the formation of the artist’s image in show business. Conclusions. As a result of the study we conclude that in the period 1970-1990 in the process of formation of pop culture in the USSR the problem of its visual representation was formed, as evidenced by numerous pieces borrowed from foreign pop design solutions for advertising products: posters, placards, album covers, accompanying products. At an early stage, this trend was manifested despite the existence of the “Iron Curtain”, ideological isolation and was episodic. In the period chronologically close to the collapse of the USSR, such processes of stylistic citation in design became more frequent in line with the growth of information coming from the developed West. Copying Western techniques and visual language can be seen as a desire to break away from the dogmatic patterns of culture instilled by socialist realism, regardless of the conscious or unconscious nature of imitation. Blind imitation was later replaced by a reasonable rethinking, so in the best examples of domestic design of the period under study there were attempts to give formal Western methods the character of the local national color, which requires further exploration.


2021 ◽  
Vol 4 (2) ◽  
Author(s):  
Kateryna Danilova ◽  
Oksana Krupa

Introduction. Today there are many music artists, and each creates a large amount of musical and visual content. But the modern consumer is increasingly critical of the content consumed. The task arises to convey the artist's work to a wider audience, to create a strong loyal fanbase. This is the case when brand management is worth mentioning, which allows promoting the audience loyalty formation for a long time. Purpose and methods. The purpose of the article is to substantiate the theoretical foundations of brand management in the organization of the music business for increasing the music artists' competitiveness and their promotion effectiveness in the music market. The system approach, methods of analysis, and synthesis, in particular, analysis of the literature about brand management, its effectiveness evaluation, and promotion of music artists are used. Results. The essence and significance of brand and brand management, features of brand management in the music business are revealed. Theoretical principles of brand management in increasing the competitiveness of music artists and their promotion effectiveness are considered. The main methods of evaluating the effectiveness of brand management are described. Conclusions. The scientific novelty of the article lies in offering to consider a music artist as a brand and promote it in the market according to the principles of brand management. It also proposes to transfer the methods of estimating the product brand building and promotion efficiency to the musician’s brand. The significance of the research lies in the possible use of its results in the integration of brand management into music artists' promoting strategy in Ukraine, as well as in developing recommendations for the promoting strategy of Ukrainian show business music artists.


2021 ◽  
Vol 56 (3) ◽  
pp. 229-265
Author(s):  
Emilie Jabouin

The documentary Show Girls, directed by Meilan Lam, makes an unprecedented contribution to the history of jazz and Black women jazz dancers in Montréal, Quebec, and to the conversation of jazz in Canada. Show Girls offers a glimpse into the lives of three Black women dancers of the 1920s–1950s. This essay asks what the lives of Black women dancers were like and how they navigated their career paths in terms of social and economic opportunities and barriers. I seek to better understand three points: (1) the gap in the study of jazz that generally excludes and/or separates dance and singing from the music; (2) the use of dance as a way to commercialize, sell, and give visual and conceptual meaning to jazz; (3) the importance of the Black body and the role of what I would define as “Afro- culture” in producing the ingenious and creative genre of jazz. My study suggests there is a dominant narrative of jazz, at least in academic literature, that celebrates one dimension of jazz as it was advertised in show business, and that bringing in additional components of jazz provides a counternarrative, but also a restorative, whole and more authentic story of jazz and its origins. More specifically, by re- exploring jazz as a whole culture that relies on music, song, and dance, this essay explores three major ideas. First, Black women dancers played a significant role in the success of jazz shows. Second, they articulated stories of self, freedom, and the identity of the New Negro through jazz culture and dance. Third, Black women’s bodies and art were later crystallized into images that further served to sell jazz as a product of show business.


Author(s):  
A. B. Alexeyev

The current paper sums up the results of the dissertation research conducted by the author at the Moscow Region State University which was supervised by Professor Ye. A. Sorokina, Doctor of Philology. The relevance of the chosen research topic is determined by anthropocentrism of modern linguistics which manifests itself in progressive development of personology, including linguistic personology and political linguistic personology as one of the emerging scientific disciplines that is not yet fully separated from political linguistics. This article looks at some new issues of political linguistics, one of which is the notion of linguopersoneme, and suggests several types of linguistic personemes: the mythmaker, the actor, the alarmist, the gentleman (the lady), the aggressor, and the marginal. Most of these notions and terms were used in our previous articles and yet it is only now that we present a more or less holistic vision of the complex and versatile phenomenon of the language personality of a politician. In our opinion, the language personality of a politician is a variety of a creative professional language personality, to some extent comparable to the people working in such professional spheres as show business, sport, art, etc. The language personality of a politician is formed in political discourse, as follows from the sociological theories by P. Bourdieu and M. Foucault. It was found that the main characteristics of political discourse manifest themselves in the politician’s language personality in a specific way, thus forming its structure, which up to this moment was predominately described in terms of Yu. N. Karaulov’s influential theory. These are verbal-semantic, cognitive and pragmatic levels of the language personality.


2021 ◽  
pp. 217-220
Author(s):  
Kevin Winkler

By the time Tommy Tune received a special Tony Award for Lifetime Achievement in 2015, he had inspired a new generation of director-choreographers, including Susan Stroman, Jerry Mitchell, and Casey Nicholaw. They successfully adapted Tune’s seamless staging concepts, his use of show business motifs, and his ability to move forward by drawing on the past to a new, faster-paced era. Well into his seventies, Tune continued to create shows with precision and detail, but now they were of a much smaller scale and featured a cast of one. His solo traveling act took on a biographical air, with recollections of his theatrical past performed on a bare stage with just a small platform for dancing, a ladder, and evocative lighting. It was the simplicity and elegance of Nine, Grand Hotel, and My One and Only stripped to their most elemental form. For Tune, everything was still choreography, but on a diminutive scale.


2021 ◽  
pp. 17-30
Author(s):  
Kevin Winkler

This chapter discusses Tommy Tune’s dance and theater training in his native Texas and his early career in New York, where he immediately found work as a dancer. He appeared in the ensemble of three Broadway shows while also traveling out of town to dance and choreograph on the thriving summer stock circuit. He learned to work fast and efficiently, in every style of musical theater dance. Roles in movies and television convinced Tune that singing and dancing in front of live audiences suited him better than performing for a camera. His friend and early mentor, Michael Bennett, provided Tune with both his first opportunity to choreograph on Broadway and his breakthrough as a performer. Originally hired to choreograph two numbers for the struggling musical Seesaw, Tune was also promoted by Bennett to a featured role in the show as a gay choreographer. It was one of musical theater’s first attempts to portray gays as more than stereotypes. Tune’s showstopping Seesaw number, “It’s Not Where You Start,” which he also choreographed, served as a template for much of his later work. It drew on early show business performing styles and tropes and infused them with contemporary energy and attitude. In both his staging and performance, Tune blended the old and the new into something fresh and original.


2021 ◽  
pp. 159-188
Author(s):  
Kevin Winkler

The Will Rogers Follies was Tune’s most opulent show, far different from the sleek, stylized minimalism of his recent musicals, with a score by Cy Coleman (music) and Betty Comden and Adolph Green (lyrics), and a book by Peter Stone, by this time a frequent Tune collaborator. The story of Will Rogers, the beloved, Oklahoma-born star of radio, vaudeville, and films, and one of the most popular headliners of the Ziegfeld Follies, was told as a series of routines played out on the stage of the Follies. This look back at a bygone theatrical era played to Tune’s strengths, and his staging recalled show business antecedents from the stage and screen updated with present-day flourishes. Tune’s staging feats were even more impressive because they were performed on a grand staircase that covered the entire expanse of the stage. The Will Rogers Follies opened during a moment of resurgent patriotism in the wake of the success of Operation Desert Storm. Following a decade in which British hits like Cats, Les Misérables, and The Phantom of the Opera dominated the Broadway musical, an air of jingoism and a determination to reclaim Broadway for American musicals hovered over the success of The Will Rogers Follies in 1991.


Author(s):  
Ivan Bobul

The aim of the work is to study pop and vocal art in the context of the development of mass culture, which is genetically determined and mediated by a number of its characteristics and traits. The research methodology involves recourse to an interdisciplinary approach, as well as the use of comparative, historical and logical methods of analysis and culturological approach in the study of these issues. The scientific novelty lies in the expansion of information on the development of pop and vocal art in the context of mass culture and the mediation of its main characteristics by the formats of mass art. Conclusions. The study found that the modern system of pop art, combined with the show business, reflects the state, trends and prospects of pop music, which can be improved by understanding the socio-cultural significance of mass culture and popular art, as well as a developed sense of responsibility the creators of mass culture. The development of musical variety should be based on the generalization of previous creative experience and inherited compositional and performing traditions. The current realities of socio-cultural life determine the fact that the substantive and professional components of pop music should be based on both traditional artistic and aesthetic ideas and the search for new views on art, relevant to modern trends, tendencies and spiritual needs of society. The intensification of the musical-performing process leads to the discovery of new horizons of mastering the artistic and creative space, which, in turn, will help update the paradigm of pop art, focusing on modern pop music as an important phenomenon of socio-cultural life.


Ethical awareness is vital for business organizations to gain the trust of customers and the sustenance of business. Inner purification is a prerequisite for developing ethical personification, thus, helping an individual demonstrate the culmination of morality. At the same time, we need to transform self-purification into organizational behaviour. In this case, Usul-e-Sab’a (the seven principles) originated by “Khatam ul Awliya '' Gauth al-Azam Hazrat Maulana Shah Sufi Syed Ahmad Ullah (R.) can play a vital role. The seven principles’ methods can assist the business community to bring business sustenance through awakening morality and ethics. Therefore, the purpose of the study is to bring sustainability in the business and in the organizational behaviour through Usul-e-Sab’a (the seven principles) which is an effective method of self-purification and also the attainment of morality. In order to draw an effective result, the exploratory research design has been applied. For collecting data, a survey questionnaire was developed and was administered to the chosen traders. The findings of the study show business sustainability of those SME traders have been increased who practice ethics for their business. The study will assist the trader’s community, in general, to build up a moral life and organize their business with honesty and integrity.


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