Under de senaste tio åren har det uppkommit ett antal organisationer som säger sig verka för att artister inom populärmusikgenrerna skall få större möjligheter att utvecklas och ta nästa steg i sina karriärer. Med utgångspunkt i denna utveckling var studiens syfte att undersöka hur produktions- och resurscentrum för populärmusik utformas och upprätthålls samt hur deras arbete påverkar villkoren för- och skepnaden av musikerkarriärer inom populärmusikgenrerna. Detta fullföljdes med en fallstudie av de två organisationerna Dalapop och BD Pop. Som datainsamlingsmetod för undersökningen har djupintervjuer genomförts med ett flertal aktörer inom det regionala musiklivet i Norrbotten och Dalarna, som på ett eller annat sätt har haft kopplingar till dessa organisationer. Undersökningens övergripande resultat pekade på att produktions- och resurscentrum har möjlighet att utformas när det finns kompetenta pådrivare och politiker som brinner för kultur och musik. Viktigt var också en hållbar och långsiktig finansiering med satsningar både från näringslivet och kulturpolitiken. Dalapop och BD Pop påverkade karriärer inom populärmusikgenrerna på ett fördelaktigt sätt genom att de bidrog med ekonomiskt- och personellt stöd samt marknadsföring, samtidigt som de förberedde och hjälpte artister vidare i sina karriärer. Möjligheterna att slå igenom på den nationella och internationella musikbranschen ökade på så sätt avsevärt. Utöver detta utjämnade dessa aktörer även musikbranschen på ett geografiskt plan, mellan populärmusikaktörer i olika delar av landet. Studien har bidragit med kunskap om hur dessa produktions- och resurscentrum påverkar musikerkarriärer inom populärmusikgenrerna samt hur dessa organisationer på olika sätt omformar det svenska musiklivet.

Gerhard Richter, Sigmar Polke et Blinky Palermo apparaissent aujourd’hui comme des figures majeures de l’histoire de l’art contemporain allemand. Richter est unanimement reconnu pour l’étendue de sa pratique picturale qui, depuis le début des années soixante, explore tous les registres de la figurabilité à travers l’usage de la photographie, brisant les limites traditionnelles du médium et du style. Polke, bien qu’encore trop méconnu en France, bénéficie de nombreuses expositions dans le monde depuis la fin des années soixante. Sa disparition, en 2010, a suscité de la part de la critique un intérêt nouveau. A la monadologie de Polke, incarnée par la trame sérigraphique au crible de laquelle est passée la vie toute entière, répond la géométrie romantique d’un peintre presque totalement ignoré du public français : Blinky Palermo. Disparu prématurément en 1977, sa popularité - notamment en Allemagne et Etats-Unis – ne cesse de croître depuis le milieu des années soixante-dix. Qu’en est-il précisément de ces trois destins qui, dans les couloirs de l’école d’art de Düsseldorf en 1961 et le voisinage d’une figure chamanique - celle de Joseph Beuys – se sont un jour croisés ? Richter, Polke et Palermo ont d’abord été ces « junge Männer » en quête d’éternité qu’en 1982 chantait Alain Bashung dans son album Play Blessures. Le socle de notre recherche coïncide donc avec les questionnements d’une génération marquée par la culpabilité, le besoin de nouveaux horizons, la conscience de la catastrophe et l’ambiguïté du modèle américain. Richter, Polke et Palermo représentent à eux-seuls un pan entier de l’histoire et de l’art allemands. / Gerhard Richter, Sigmar Polke and Blinky Palermo are emerging, since the middle of the sixties, as major artists in the context of German contemporary art. Richter is today widely celebrated for the breadth of his pictorial practice which, since the early sixties, explores all registers of painting through the use of photography, breaking the traditional boundaries of the medium and style. Polke, although still too little known in France, has many exhibitions around the world since the late sixties. His death in 2010 sparked criticism from a new interest. Polke’s Monadology, embodied by the reproduction of the Ben-Day Dots printing process, encounters the Euclidean geometry of a romantic painter almost totally ignored by the French public : Blinky Palermo. Died prematurely in 1977, his popularity - especially in Germany and the United States - is constantly growing since the mid-seventies. What precisely connects these three painters, in the neighborhood of the shamanic personality of Joseph Beuys? That is the question we solve. Richter, Polke and Palermo were first these "junge Männer" in search of eternity Alain Bashung in 1982 sang in his album Play Blessures. The rhythm of our research is given by the history of a generation marked by guilt, the need for new horizons, awareness of the disaster and the ambiguity of the American model. Richter, Polke and Palermo are on their own an entire part of history and German art.

The Thesis looks into problems of in-store communication from Brief of POS to final placement at the store. The core of the Thesis is to reveal non-efficient fields of otherwise very successful tools. The goal is to verify hypothetic problems which influence full effectiveness of POS tools at retail stores. The Thesis brings a different frame of reference and tries to reveal problems and make them visible, but to find out solutions as well. The results are supported by researches from 3 different fields. They are the customer research, the supplier and POS implementer research, and retail research (hypermarket). The methods used are observation, interview (personal and questionnaire) and assisted shopping. Confirmed problems which follow from researches and influence the effectiveness of POS are these: no certain definition of POS goals; inadequate attractiveness of POS for customers; low-cost production instead of creativity and originality; no harmony between material of display and exposed products and bad cooperation between all subjects within process of POS.

Tennessee Williams utilise pour la première fois l’expression « théâtre plastique » en 1944, dans un essai où il évoque les limites du langage verbal. Ce qu’il recherche, c’est un langage « des sons, des couleurs et des mouvements », un au-delà des mots censé redonner vie à un théâtre réaliste jugé moribond. Il se fixe ainsi pour objectif de retranscrire sur la page la totalité de l’expérience théâtrale. Créateur d’images, le dramaturge se compare fréquemment à un peintre et puise dans l’art pictural les éléments de son nouveau langage. Gauguin, Van Gogh, De Chirico, Hofmann ou encore Pollock font partie de la longue liste d’artistes qui lui ont permis d’échapper à la pétrification dans un mimétisme réaliste associé à l’image photographique. Cités dans ses essais ou dans ses pièces, ils orientent son théâtre vers l’abstraction à laquelle le dramaturge aspire. Or, l’influence des images sur le « théâtre plastique » ne se limite pas seulement à la peinture, la fascination de Williams pour le cinéma a également contribué à façonner son écriture, élargissant encore davantage l’alphabet de son langage théâtral. L’image apparaît en ce sens comme un agent libérateur du langage, un au-delà des mots dans lequel se profile un « je » en marge de la représentation comme système culturellement prédéterminé et prédéterminant. L’écriture de Williams désire l’image. De là vient sa puissance subversive. Le processus créateur tout entier se fonde sur l’entrelacement des logiques sémiotiques propres au langage et à l’image, faisant de l’un l’envers de l’autre, sa moitié indispensable. Le rapport de complémentarité qui unit l’image au langage dans toute l’œuvre de Williams met à jour l’originalité d’une écriture animée par un désir d’image, écriture vivante du théâtre. / When Tennessee Williams coined the phrase “plastic theater” in 1944, he described it as a language of “sounds, colors and movements,” a language freed from the limitations of words. His aim was to breathe new life into what he called “the exhausted theater of realistic conventions.” His ability to put the totality of theatrical experience into words manifests itself in the scripts of his plays. Williams is a creator of pictures, a playwright in the true sense of the word who found in painting and cinema the images he needed to elaborate his new language for the stage and move away from a “photographic likeness” he rejected because it was associated with realism. Gauguin, Van Gogh, De Chirico, Hofmann or Pollock are but a few of the many painters mentioned in his plays or essays who provided him with the means to enrich his vocabulary for the stage and lead his “plastic theater” toward “something more abstract.” But cinema also influenced him, giving him the opportunity to explore new possibilities and create a space between words and images where the elusive truth could be revealed. Images thus helped liberate Williams from the literary traditions as well as from the cultural codes that had defined and confined his writing from the very beginning. The writer who felt “wrapped up in literary style like the bandages of a mummy” found in images the subversive power he needed to express his true self and breathe life into words that he had always wanted to be “more than words.” From “the language of vision” to “organic writing,” Williams’s “plastic theater” evinces a desire for images.

The library on the beachThe library has been awarded special funding from the government. The goal for this outreach library is to support children in their leisure time and to encourage their reading. The aim has been to investigate the relationship between the purpose of outreach library activities and actual user behavior.The main purpose of the essay is how the relation is between the purpose of outreach library and how the visitors’ behaviors corresponds to the purpose. Is it possible to create a Library on the beach? How the relation is between the purpose of the outreach library and how the visitor’s behaviors corresponds to the purposes? Is it possible through the investigation to get an indication if it is the right way for people to build relations to library on their leisure time?The investigation was conducted through interviews with library staff, rooting the results of the research in theories.The assessment of the results of this study through observations and interviews is that the Beach Library is more than just playing with children.The children use the library for reading and participating in various activities that can provide knowledge. The beach library is a contact creating activity, and as the visitors express and their visits show, it is experienced as an appreciated meeting point. Jochumsen et al (2012) and their model fills all four rooms, indicating that the visitors and especially the children are given a richer leisure time where each individual possibly can grow and achieve empowerment. The result also shows that adults gather around the library and use it for conversations in a social aspect but also look at the contents of magazines, movies, books and borrow them. The study has a weakness since it does not answer the question whether the visitors think that the library's content and activities raise needs and require a continuation, or if they are just happy that something happens on the beach.

Korea has become a strong influencer of global popular culture. With a handful of Korean celebrities entering mainstream U.S. pop music, Hallyu, the Korean Wave, has been growing tremendously in popularity. Following this global trend, American audiences are increasingly tuning into K-pop. The current study uses Q-sort methodology to investigate the motives, opinions, and attitudes of American fans of K-pop, specifically to find what drives people to seek music whose roots lie in an unfamiliar cultural landscape. Study results show that non-Korean K-pop fans in the United States fall into three distinct groups: the human lovers ("Honey honey, how you thrill me"), the product and production appreciators ("Music is my life"), and the social connectors ("With a little help from my friends"). Although the music appreciators and the socializers have been identified in previous K-pop research, the "Honey honey" group is a new category in K-pop culture research.

Review of Alcohol in Popular Culture : An Encyclopedia. Rachel Black Greenwood. 2010. 229p, 9780313380488, $85.00.

Andy Warhol, one of the most famous American artists in history, achieved an extraordinary level of commercial and merchandizing success both during his lifetime and posthumously. Utilizing contemporary advertising theory, the emotional and psychological appeal of the artist to the art world and the general public is revealed.

Denna uppsats handlar om hur fyra olika musikproduktionsprocesser påverkas två olika arbetsmetoder. Jag utgår från 4 st. egna refräng-idéer inom pop/contemporary-genren. Idéerna innefattar melodi och viss text. Låt A1 och A2 måste jag skriva klart helt och hållet, gällande melodi, text, ackordik och form, innan jag får gå vidare till arrangering. Vid arrangeringen får jag lägga maximalt 3 minuter på att hitta ett ljud för det instrument jag ska lägga till. Jag får under dessa minuter justera reglage på instrumentet men får inte lägga till mixningsverktyg så som EQ, kompressor eller modulationseffekter. Låt B1 och B2 ska jag ta vidare genom att direkt producera dem. De instrument och ljud jag lägger till ska jag direkt börja forma så attt ljuden blir precis så som jag vill att de ska låta i slutproduktionen. Jag får inte lägga till ett nytt instrument innan jag är helt klar med ljudet på det föregående. Jag har, under och efter arbetet analyserat hur min inspiration, trivsel, effektivitet, resultat och beslutsihållighet påverkats av de olika arbetsmetoderna. Det har visat sig att att metoden jag använt för låt B1-B2, nämligen att producera medan jag skriver och arrangerar generellt är bäst. Dock kan den ibland vara inspirationshämmande Nyckelord arrangering, contemporary, pop, musikproduktion, komposition, låtskrivande

Janelle Monáe is a pop superstar whose Afrofuturist art is paving the way for a new revolution of popular music. An investigation into her oeuvre reveals an artform that ­relies on technological aesthetics and science-fiction narratives as a critical lens through which capitalism and its racist, sexist, homophobic, and hegemonic tendencies are clearly revealed. Monáe displays a masterful understanding of social hierarchy and power imbalances, and uses her music as a form of resistance to those heterosexist, white-supremacist institutions that attempt to reduce Monáe to the profitability of her body and culture. Situating herself as a visible and celebrated queer black musician and activist, Monáe uses her voice to provide political commentary on present-day America, through imagined future dystopias. Her seamless synthesis of black music genres and aesthetics allows for a unified musical project that is accessible, socially informed, powerful, and impactful.