![]() In 2020, he published the book 33 1/3 Japan: Joe Hisaishi’s Soundtrack for My Neighbor Totoro. His research interests include Puccini’s operas, exoticism, and Orientalism in music, nostalgia, and music in postwar Japan. degrees in music history and clarinet performance from the University of Cincinnati College-Conservatory of Music. in musicology from Indiana University Jacobs School of Music and M.M. Kunio Hara is an associate professor of music history at the University of South Carolina. Her research explores the intersections of music, politics, and constructions of gender, focusing on the functions of musical narratives in context. She is a guest editor for Mechademia 13.2 “Soundscapes” and has articles appearing in the upcoming Anime and Music Handbook (Palgrave) and Animation and Public Engagement at the Time of Covid-19 (Vernon Press). She has presented on music in anime at the American Popular Culture Association, the Animation and Public Engagement Symposium, Mechademia conferences, and Anime Expo Academic Conferences. in musicology from the University of Illinois, Urbana-Champaign. Stacey Jocoy is an associate professor of music history at Texas Tech University. ![]() ![]() The date and time of the event are Eastern Time. Registrants will receive the link to the stream via email. Live commentary will be also enabled on the YouTube stream. If you have any questions about music and soundscapes in anime, please submit them on the Eventbrite page when you register. The discussion will be followed by a Q&A session. Join us for the panel discussion with Stacey Jocoy, Kunio Hara, and Rose Bridges, as they discuss how directors and composers collaborate to create the music, examining the role of music in storytelling and the uses of music in beloved anime, such as My Neighbor Totoro ( Tonari no Totoro), Grave of the Fireflies ( Hotaru no haka), Cowboy Bebop, and Your Name ( Kimi no Na wa). You may love anime soundtracks as much as the anime itself, but have you ever thought about the role of music in storytelling, how the music affects the work itself, and what meanings might be hidden in the music? academia will unravel the power of music in anime. The Japan Foundation, New York presents a monthly online series that delves into Japanese pop culture from academic and professional perspectives.įor the third session, three musicologists in U.S.
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![]() I’m in a different place now.” During a concert in 2018, she also told the crowd, “I’ve been betrayed before, publicly. 14, and the rapper even went in for a hug onstage Ja Rule and Fat Joe went head-to-head during. I’m not a big fan of people being cowards. Exes Ashanti and Nelly came face-to-face during a Verzuz battle between Ja Rule and Fat Joe on Sept. ![]() “I think sometimes when people have their own insecurities, it allows them to act out of character,” she admitted in 2015. Although the two were pretty private about the breakup, Ashanti admitted that a lack of trust is what led to things ending. They started dating shortly after that, and were together for more than ten years before calling it quits in 2014. #Nelly made sure he got a hug from #Ashanti at #Verzuz □ /fNMiJTDNVOĪshanti and Nelly met at a press conference for the Grammys in 2003 when they were two of the hottest hip-hop/R&B artists in the industry. However, all signs point to a friendly reunion between the exes! Unfortunately, the cameras cut away at that exact moment, so it’s unclear exactly how the interaction ended. Cameras showed him heading her way onstage and leaning in for the hug. There's still a few places that song can't go, because even a decade later, it's ahead of its time.After his performance, Nelly didn’t shy away from trying to go get a hug from Ashanti. Probably even "I'm 'n Luv (Wit a Dancer)" couldn't pass muster. "I'm 'n Luv (Wit a Stripper)" didn't make the cut either time. Find many great new & used options and get the best deals for Im in Love with a Stripper. To commemorate the 10-year anniversary of T-Pain's debut album and the one-year anniversary of his appearance, NPR invited him back last week for a command performance. Certainly the novelty was the draw for those who had. This could be due to the instinctive love a certain demographic has for R&B or hip-hop only when it's recontextualized and stripped down, but an audience who'd never heard T-Pain probably just saw an enchanting soul singer. "Buy U a Drank" unplugged turned out to be a smash with NPR listeners. Last year, T-Pain recorded the most popular Tiny Desk Concert in NPR history, accompanied by a lone keyboard player and joking that his Auto-Tune had been surgically inserted. Sometimes it's just a little concealer, sometimes it's neon pink fake lashes, and if it's going to be noticeable, might as well go big. The creator of Auto-Tune has been quoted as comparing it to cosmetics, appropriately. It resembles nothing so much as a strip club customer who goes on a tirade about how much he dislikes surgically augmented bodies even though he would not for one second stand for a woman who decided to leave her body hair in its authentic state. ![]() When it comes to popular music, an art form whose entire existence depends on the unanticipated applications of new technologies, drawing the line at a particular effect is a mental feat. He used it to screw it up and make it do what the human voice technically could not. THE PUSSYCAT Be Without You INTERSCOPE (94.2) I'm N Luv (Wit A Stripper) ZOMBA (68.2) (Excuse Me Miss) ZOMBA. T-Pain never used the device to make his voice sound unrealistically perfect. T-Pain is at least partly responsible for both 808s and Heartbreak and The Blueprint 3, one of which used a lot of Auto-Tune and one of which called for its death. Released in late 2005 it peaked at number five on the Billboard Hot 100 chart, making it T-Pain's second top 10 single, and Mike Jones's first. In addition to being at the edge of a trend in subject matter, T-Pain's use of Auto-Tune marked/caused a huge increase in the program's use and an accompanying backlash against it, uniting Jay Z and Death Cab for Cutie in their public stands against vocal processing. 'I'm N Luv (Wit a Stripper)' (censored as 'I'm N Luv (Wit a Dancer)') is a single by American singer T-Pain featuring rapper Mike Jones. The songs that history will record as the last butt rock stripper anthems came forth shortly thereafter in a death rattle of trying-to: Buckcherry's "Crazy Bitch" (2005), Kid Rock's "So Hott" (2007), and Nickelback's "Shakin' Hands" (2008). The strip club anthems of the 1980s- "Cherry Pie", "Pour Some Sugar on Me", "Girls, Girls, Girls"-and the nu-metal of the '90s were fading memories. After 2005, rock radio continued to dwindle into a niche market. |
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