The use of popular music in advertising represents one of the most pervasive mergers of cultural and commercial objectives in the modern age. Steady public response to popular music in television commercials, ranging from the celebratory to the outraged, highlights both unresolved tensions around such partnerships and the need to unpack the complex issues behind everyday media practice. Through an analysis of press coverage and interviews with musicians, music supervisors, advertising creatives, and licensing managers, As Heard on TV considers the industrial changes that have provided a foundation for the increased use of popular music in advertising, and explores the critical issues and debates surrounding media alliances that blur cultural ambitions with commercial goals. The practice of licensing popular music for advertising revisits and continues a number of themes in cultural and media studies, among them the connection between authorship and ownership in popular music, the legitimization of advertising as art, industrial transformations in radio and music, the role of music in branding, and the restructuring of meaning that results from commercial exploitation of popular music. As Heard on TV addresses these topics by exploring cases involving artists from the Beatles to the Shins and various dominant corporations of the last half-century. As one example within a wider debate about the role of commerce in the production of culture, the use of popular music in advertising provides an entry point through which a range of practices can be understood and interrogated. This book attends to the relationship between popular culture and corporate power in its complicated variation: at times mutually beneficial and playfully suspicious of constructed boundaries, and at others conceived in strain and symbolic of the triumph of hypercommercialism.
Sports and popular music are synergistic agents in the construction of identity and community. They are often interconnected through common cross-marketing tactics and through influence on each other's performative strategies and stylistic content. Typically only studied as separate entities, popular music and sport cultures mutually 'play' off each other in exchanges of style, ideologies and forms. Posing unique challenges to notions of mind - body dualities, nationalism, class, gender, and racial codes and sexual orientation, Dr Ken McLeod illuminates the paradoxical and often conflicting relationships associated with these modes of leisure and entertainment and demonstrates that they are not culturally or ideologically distinct but are interconnected modes of contemporary social practice. Examples include how music is used to enhance sporting events, such as anthems, chants/cheers, and intermission entertainment, music that is used as an active part of the athletic event, and music that has been written about or that is associated with sports. There are also connections in the use of music in sports movies, television and video games and important, though critically under-acknowledged, similarities regarding spectatorship, practice and performance. Despite the scope of such confluences, the extraordinary impact of the interrelationship of music and sports on popular culture has remained little recognized. McLeod ties together several influential threads of popular culture and fills a significant void in our understanding of the construction and communication of identity in the late twentieth and early twenty-first centuries.
With the increasingly important role of psychosocial interventions in the treatment of schizophrenia and other mental illness, many interventions have been adequately researched and standardized to meet the criteria for evidence-based practice. Music therapy is one such modality, which is viewed as another therapeutic form of intervention. However, there remains no resource to guide music therapists in the implementation of appropriate evidence-based techniques. This book develops such a resource, which matches psychosocial goals with appropriate music therapy interventions across the domains of functioning. This resource has the potential to provide immediate and long-term support to clinicians and their clients. It may also serve as a template to guide music therapy research, by identifying applications which have yet to be empirically studied. There are many components which are discussed to prove from a scientific and a spiritual view that music can be used as a therapeutic means for those suffering with schizophrenia and similar mental health illness. A brief review of other mental health illnesses and the role the church plays in providing effective support also is included. Pastors have been looked down at, as though they are the door mat of society. This has placed a stigma upon many creating a restriction as to what they should and shouldn?t do. However, a new breed of pastors is rising up with an internal drive to make a difference both in the church and in the society. They are destroying the stigma that has been created to change our world and impact our communities including the mental health. We have learned from every culture and ethnic group how music is an important part of daily living. Music is unique in every person?s life. It is possible that God created music to calm the mind and help mankind deal with their every day stressors. This book is an educational tool to help individuals understand schizophrenia and other serious mental illness. It?s a book everyone should have to understand themselves and others.
This is a parallel New Testament. On the left hand side of a page is the Cambridge King James Version on the right hand side of the same page is the Greek Stephanus 1550 (Received Text, the Greek text for the KJV's N.T.). The font is Times New Roman, 12 point. There are 719 pages.
The use of popular music in advertising represents one of the most pervasive mergers of cultural and commercial objectives in the modern age. Steady public response to popular music in television commercials, ranging from the celebratory to the outraged, highlights both unresolved tensions around such partnerships and the need to unpack the complex issues behind everyday media practice. Through an analysis of press coverage and interviews with musicians, music supervisors, advertising creatives, and licensing managers, As Heard on TV considers the industrial changes that have provided a foundation for the increased use of popular music in advertising, and explores the critical issues and debates surrounding media alliances that blur cultural ambitions with commercial goals. The practice of licensing popular music for advertising revisits and continues a number of themes in cultural and media studies, among them the connection between authorship and ownership in popular music, the legitimization of advertising as art, industrial transformations in radio and music, the role of music in branding, and the restructuring of meaning that results from commercial exploitation of popular music. As Heard on TV addresses these topics by exploring cases involving artists from the Beatles to the Shins and various dominant corporations of the last half-century. As one example within a wider debate about the role of commerce in the production of culture, the use of popular music in advertising provides an entry point through which a range of practices can be understood and interrogated. This book attends to the relationship between popular culture and corporate power in its complicated variation: at times mutually beneficial and playfully suspicious of constructed boundaries, and at others conceived in strain and symbolic of the triumph of hypercommercialism.
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