Jake Johnson – författare

When Leigh Harline and Ned Washington penned "When You Wish Upon a Star" for Disney's 1940 film Pinocchio, the song came like a bolt out of the blue. Like Harold Arlen and Yip Harburg's "Over the Rainbow" from The Wizard of Oz one year earlier, "When You Wish Upon a Star" comes on the heels of the Great Depression and just shy of America's sudden jolt into a second global conflict. Both tunes reach outward and upward with their memorable octave leaps. Both have aged into two of the most beloved and iconic songs of our times. And both are closely associated with their original interpreters (Judy Garland and Cliff Edwards, respectively) whose tragic falls from grace make a poetic crease in the clean bill of health America gives itself again and again.But fate stepped in and "When You Wish Upon a Star" has since taken a peculiar and dynamic life of its own. The tune is everywhere. It is a corporate logo. It is part of a soundscape in America that harmonizes personal aspiration with the health of the marketplace. And that initial tear in Cliff Edwards's voice has now largely faded into the background. No longer a bolt, no more out of the blue, but here to stay. What is this song's secret?This book pulls focus to the song--its origins and original context in Pinocchio, the way it works, the work it's been made to do in the world, and the lives of those who orbited it over the last eight decades--in order to better understand how our ears attune to the possible and what "When You Wish Upon a Star" can teach us.This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.

When Leigh Harline and Ned Washington penned "When You Wish Upon a Star" for Disney's 1940 film Pinocchio, the song came like a bolt out of the blue. Like Harold Arlen and Yip Harburg's "Over the Rainbow" from The Wizard of Oz one year earlier, "When You Wish Upon a Star" comes on the heels of the Great Depression and just shy of America's sudden jolt into a second global conflict. Both tunes reach outward and upward with their memorable octave leaps. Both have aged into two of the most beloved and iconic songs of our times. And both are closely associated with their original interpreters (Judy Garland and Cliff Edwards, respectively) whose tragic falls from grace make a poetic crease in the clean bill of health America gives itself again and again.But fate stepped in and "When You Wish Upon a Star" has since taken a peculiar and dynamic life of its own. The tune is everywhere. It is a corporate logo. It is part of a soundscape in America that harmonizes personal aspiration with the health of the marketplace. And that initial tear in Cliff Edwards's voice has now largely faded into the background. No longer a bolt, no more out of the blue, but here to stay. What is this song's secret?This book pulls focus to the song--its origins and original context in Pinocchio, the way it works, the work it's been made to do in the world, and the lives of those who orbited it over the last eight decades--in order to better understand how our ears attune to the possible and what "When You Wish Upon a Star" can teach us.This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.

When Leigh Harline and Ned Washington penned "e;When You Wish Upon a Star"e; for Disney's 1940 film Pinocchio, the song came like a bolt out of the blue. Like Harold Arlen and Yip Harburg's "e;Over the Rainbow"e; from The Wizard of Oz one year earlier, "e;When You Wish Upon a Star"e; comes on the heels of the Great Depression and just shy of America's sudden jolt into a second global conflict. Both tunes reach outward and upward with their memorable octave leaps. Both have aged into two of the most beloved and iconic songs of our times. And both are closely associated with their original interpreters (Judy Garland and Cliff Edwards, respectively) whose tragic falls from grace make a poetic crease in the clean bill of health America gives itself again and again. But fate stepped in and "e;When You Wish Upon a Star"e; has since taken a peculiar and dynamic life of its own. The tune is everywhere. It is a corporate logo. It is part of a soundscape in America that harmonizes personal aspiration with the health of the marketplace. And that initial tear in Cliff Edwards's voice has now largely faded into the background. No longer a bolt, no more out of the blue, but here to stay. What is this song's secret?This book pulls focus to the song--its origins and original context in Pinocchio, the way it works, the work it's been made to do in the world, and the lives of those who orbited it over the last eight decades--in order to better understand how our ears attune to the possible and what "e;When You Wish Upon a Star"e; can teach us. This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.

When Leigh Harline and Ned Washington penned "e;When You Wish Upon a Star"e; for Disney's 1940 film Pinocchio, the song came like a bolt out of the blue. Like Harold Arlen and Yip Harburg's "e;Over the Rainbow"e; from The Wizard of Oz one year earlier, "e;When You Wish Upon a Star"e; comes on the heels of the Great Depression and just shy of America's sudden jolt into a second global conflict. Both tunes reach outward and upward with their memorable octave leaps. Both have aged into two of the most beloved and iconic songs of our times. And both are closely associated with their original interpreters (Judy Garland and Cliff Edwards, respectively) whose tragic falls from grace make a poetic crease in the clean bill of health America gives itself again and again.But fate stepped in and "e;When You Wish Upon a Star"e; has since taken a peculiar and dynamic life of its own. The tune is everywhere. It is a corporate logo. It is part of a soundscape in America that harmonizes personal aspiration with the health of the marketplace. And that initial tear in Cliff Edwards's voice has now largely faded into the background. No longer a bolt, no more out of the blue, but here to stay. What is this song's secret?This book pulls focus to the song--its origins and original context in Pinocchio, the way it works, the work it's been made to do in the world, and the lives of those who orbited it over the last eight decades--in order to better understand how our ears attune to the possible and what "e;When You Wish Upon a Star"e; can teach us.This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read on the Oxford Academic platform and offered as a free PDF download from OUP and selected open access locations.

From 1981 to 1994, music patron and art collector Betty Freeman (1921--2009) hosted a series of monthly musicales, or salons, in Los Angeles. Most of these salons were held in a room off the den of Freeman's Beverly Hills home--a space she dubbed "the music room." Freeman saw these salons as an important space to foster the development of contemporary composition among leading and upcoming composers in both America and Europe. Over the span of thirteen seasons, 144 composers, performers, and dignitaries in the contemporary music world spoke, performed, and shared their music before a gathering of elite arts administrators, scholars, critics, patrons, and composers from the greater Los Angeles area. Freeman and her co-organizer, music critic Alan Rich (1924--2010), ensured that young, local composers were frequently featured alongside established ones with international reputations, constructing a network of mentors and mentees within contemporary music. The Music Room is a collection of transcriptions of tape recordings made at the salons and photographs Freeman took of these events that gives an unprecedented look inside one of the most significant musical gatherings of the last century. Among those famous today who appeared in the salons were John Cage, Libby Larsen, Pierre Boulez, Steve Reich, John Adams, György Ligeti, and Philip Glass. Featuring sixteen composers whose work and relationship with Freeman showcase the wide influence of her salon series, The Music Room is at once a record of these specific composers as well as a documented history of salon culture in America.

From 1981 to 1994, music patron and art collector Betty Freeman (1921--2009) hosted a series of monthly musicales, or salons, in Los Angeles. Most of these salons were held in a room off the den of Freeman's Beverly Hills home--a space she dubbed "the music room." Freeman saw these salons as an important space to foster the development of contemporary composition among leading and upcoming composers in both America and Europe. Over the span of thirteen seasons, 144 composers, performers, and dignitaries in the contemporary music world spoke, performed, and shared their music before a gathering of elite arts administrators, scholars, critics, patrons, and composers from the greater Los Angeles area. Freeman and her co-organizer, music critic Alan Rich (1924--2010), ensured that young, local composers were frequently featured alongside established ones with international reputations, constructing a network of mentors and mentees within contemporary music. The Music Room is a collection of transcriptions of tape recordings made at the salons and photographs Freeman took of these events that gives an unprecedented look inside one of the most significant musical gatherings of the last century. Among those famous today who appeared in the salons were John Cage, Libby Larsen, Pierre Boulez, Steve Reich, John Adams, György Ligeti, and Philip Glass. Featuring sixteen composers whose work and relationship with Freeman showcase the wide influence of her salon series, The Music Room is at once a record of these specific composers as well as a documented history of salon culture in America.

From 1981 to 1994, music patron and art collector Betty Freeman (1921--2009) hosted a series of monthly musicales, or salons, in Los Angeles. Most of these salons were held in a room off the den of Freeman's Beverly Hills home--a space she dubbed "e;the music room."e; Freeman saw these salons as an important space to foster the development of contemporary composition among leading and upcoming composers in both America and Europe. Over the span of thirteen seasons, 144 composers, performers, and dignitaries in the contemporary music world spoke, performed, and shared their music before a gathering of elite arts administrators, scholars, critics, patrons, and composers from the greater Los Angeles area. Freeman and her co-organizer, music critic Alan Rich (1924--2010), ensured that young, local composers were frequently featured alongside established ones with international reputations, constructing a network of mentors and mentees within contemporary music. The Music Room is a collection of transcriptions of tape recordings made at the salons and photographs Freeman took of these events that gives an unprecedented look inside one of the most significant musical gatherings of the last century. Among those famous today who appeared in the salons were John Cage, Libby Larsen, Pierre Boulez, Steve Reich, John Adams, Gyorgy Ligeti, and Philip Glass. Featuring sixteen composers whose work and relationship with Freeman showcase the wide influence of her salon series, The Music Room is at once a record of these specific composers as well as a documented history of salon culture in America.

From 1981 to 1994, music patron and art collector Betty Freeman (1921--2009) hosted a series of monthly musicales, or salons, in Los Angeles. Most of these salons were held in a room off the den of Freeman's Beverly Hills home--a space she dubbed "e;the music room."e; Freeman saw these salons as an important space to foster the development of contemporary composition among leading and upcoming composers in both America and Europe. Over the span of thirteen seasons, 144 composers, performers, and dignitaries in the contemporary music world spoke, performed, and shared their music before a gathering of elite arts administrators, scholars, critics, patrons, and composers from the greater Los Angeles area. Freeman and her co-organizer, music critic Alan Rich (1924--2010), ensured that young, local composers were frequently featured alongside established ones with international reputations, constructing a network of mentors and mentees within contemporary music. The Music Room is a collection of transcriptions of tape recordings made at the salons and photographs Freeman took of these events that gives an unprecedented look inside one of the most significant musical gatherings of the last century. Among those famous today who appeared in the salons were John Cage, Libby Larsen, Pierre Boulez, Steve Reich, John Adams, Gyorgy Ligeti, and Philip Glass. Featuring sixteen composers whose work and relationship with Freeman showcase the wide influence of her salon series, The Music Room is at once a record of these specific composers as well as a documented history of salon culture in America.

The Church of Jesus Christ of Latter-day Saints adopted the vocal and theatrical traditions of American musical theater as important theological tenets. As Church membership grew, leaders saw how the genre could help define the faith and wove musical theater into many aspects of Mormon life. Jake Johnson merges the study of belonging in America with scholarship on voice and popular music to explore the surprising yet profound link between two quintessentially American institutions. Throughout the twentieth and twenty-first centuries, Mormons gravitated toward musicals as a common platform for transmitting political and theological ideas. Johnson sees Mormons using musical theater as a medium for theology of voice--a religious practice that suggests how vicariously voicing another person can bring one closer to godliness. This sounding, Johnson suggests, created new opportunities for living. Voice and the musical theater tradition provided a site for Mormons to negotiate their way into middle-class respectability. At the same time, musical theater became a unique expressive tool of Mormon culture.

The local and regional shows staged throughout America use musical theater's inherent power of deception to cultivate worldviews opposed to mainstream ideas. Jake Johnson reveals how musical theater between the coasts inhabits the middle spaces between professional and amateur, urban and rural, fact and fiction, fantasy and reality, and truth and falsehood. The homegrown musical provides a space to engage belief and religion—imagining a better world while creating opportunities to expand what is possible in the current one. Whether it is the Oklahoma Senior Follies or a Mormon splinter group's production of The Sound of Music, such productions give people a chance to jolt themselves out of today's post-truth malaise and move toward a world more in line with their desires for justice, reconciliation, and community. Vibrant and strikingly original, Lying in the Middle discovers some of the most potent musical theater taking place in the hoping, beating hearts of Americans.

Singular and star-studded writings on America’s neon-lit playground At once a Technicolor wonderland and the embodiment of American mythology, Las Vegas exists at the Ground Zero of a reverence for risk-taking and the transformative power of a winning hand. Jake Johnson edits a collection of short essays and flash ideas that probes how music-making and soundscapes shape the City of Second Chances. Treating topics ranging from Cher to Cirque de Soleil, the contributors delve into how music and musicians factored in the early development of Vegas’s image; the role of local communities of musicians and Strip mainstays in sustaining tensions between belief and disbelief; the ways aging showroom stars provide a sense of timelessness that inoculates visitors against the outside world; the link connecting fantasies of sexual prowess and democracy with the musical values of Liberace and others; considerations of how musicians and establishments gambled with identity and opened the door for audience members to explore Sin City–only versions of themselves; and the echoes and energy generated by the idea of Las Vegas as it travels across the country. Contributors: Celine Ayala, Kirstin Bews, Laura Dallman, Joanna Dee Das, James Deaville, Robert Fink, Pheaross Graham, Jessica A. Holmes, Maddie House-Tuck, Jake Johnson, Kelly Kessler, Michael Kinney, Carlo Lanfossi, Jason Leddington, Janis McKay, Sam Murray, Louis Niebur, Lynda Paul, Arianne Johnson Quinn, Michael M. Reinhard, Laura Risk, Cassaundra Rodriguez, Arreanna Rostosky, and Brian F. Wright

Often dismissed as escapism, screen musicals of the 1960s in fact tapped into unspoken sadness about an America that was slipping away. Jake Johnson delves into film and television musicals of the era to examine their place in networks of grieving in America, for America, and about America.The Golden Age of musical theater ended just as Elisabeth KÜbler-Ross’s On Death and Dying debuted, and Johnson uses KÜbler-Ross’s five stages to frame the intertwining of musicals and grief. He analyzes films like Seven Brides for Seven Brothers and State Fair alongside paintings, poetry, and other images and texts to reveal how the musical theater engine built in the first half of the century broke down just as a new language emerged to describe the melancholy felt by people facing the end of the world they had known. Nuanced and original, Unstaged Grief plumbs the grief, loss, and hope behind the Technicolor spectacle and rousing showstoppers.

The Church of Jesus Christ of Latter-day Saints adopted the vocal and theatrical traditions of American musical theater as important theological tenets. As Church membership grew, leaders saw how the genre could help define the faith and wove musical theater into many aspects of Mormon life. Jake Johnson merges the study of belonging in America with scholarship on voice and popular music to explore the surprising yet profound link between two quintessentially American institutions. Throughout the twentieth and twenty-first centuries, Mormons gravitated toward musicals as a common platform for transmitting political and theological ideas. Johnson sees Mormons using musical theater as a medium for theology of voice--a religious practice that suggests how vicariously voicing another person can bring one closer to godliness. This sounding, Johnson suggests, created new opportunities for living. Voice and the musical theater tradition provided a site for Mormons to negotiate their way into middle-class respectability. At the same time, musical theater became a unique expressive tool of Mormon culture.

The local and regional shows staged throughout America use musical theater’s inherent power of deception to cultivate worldviews opposed to mainstream ideas. Jake Johnson reveals how musical theater between the coasts inhabits the middle spaces between professional and amateur, urban and rural, fact and fiction, fantasy and reality, and truth and falsehood. The homegrown musical provides a space to engage belief and religion—imagining a better world while creating opportunities to expand what is possible in the current one. Whether it is the Oklahoma Senior Follies or a Mormon splinter group’s production of The Sound of Music, such productions give people a chance to jolt themselves out of today’s post-truth malaise and move toward a world more in line with their desires for justice, reconciliation, and community.

Vibrant and strikingly original, Lying in the Middle discovers some of the most potent musical theater taking place in the hoping, beating hearts of Americans.

Singular and star-studded writings on America’s neon-lit playground

At once a Technicolor wonderland and the embodiment of American mythology, Las Vegas exists at the Ground Zero of a reverence for risk-taking and the transformative power of a winning hand. Jake Johnson edits a collection of short essays and flash ideas that probes how music-making and soundscapes shape the City of Second Chances. Treating topics ranging from Cher to Cirque de Soleil, the contributors delve into how music and musicians factored in the early development of Vegas’s image; the role of local communities of musicians and Strip mainstays in sustaining tensions between belief and disbelief; the ways aging showroom stars provide a sense of timelessness that inoculates visitors against the outside world; the link connecting fantasies of sexual prowess and democracy with the musical values of Liberace and others; considerations of how musicians and establishments gambled with identity and opened the door for audience members to explore Sin City–only versions of themselves; and the echoes and energy generated by the idea of Las Vegas as it travels across the country.

Contributors: Celine Ayala, Kirstin Bews, Laura Dallman, Joanna Dee Das, James Deaville, Robert Fink, Pheaross Graham, Jessica A. Holmes, Maddie House-Tuck, Jake Johnson, Kelly Kessler, Michael Kinney, Carlo Lanfossi, Jason Leddington, Janis McKay, Sam Murray, Louis Niebur, Lynda Paul, Arianne Johnson Quinn, Michael M. Reinhard, Laura Risk, Cassaundra Rodriguez, Arreanna Rostosky, and Brian F. Wright

The Church of Jesus Christ of Latter-day Saints adopted the vocal and theatrical traditions of American musical theater as important theological tenets. As Church membership grew, leaders saw how the genre could help define the faith and wove musical theater into many aspects of Mormon life. Jake Johnson merges the study of belonging in America with scholarship on voice and popular music to explore the surprising yet profound link between two quintessentially American institutions. Throughout the twentieth and twenty-first centuries, Mormons gravitated toward musicals as a common platform for transmitting political and theological ideas. Johnson sees Mormons using musical theater as a medium for theology of voice--a religious practice that suggests how vicariously voicing another person can bring one closer to godliness. This sounding, Johnson suggests, created new opportunities for living. Voice and the musical theater tradition provided a site for Mormons to negotiate their way into middle-class respectability. At the same time, musical theater became a unique expressive tool of Mormon culture.

The local and regional shows staged throughout America use musical theater's inherent power of deception to cultivate worldviews opposed to mainstream ideas. Jake Johnson reveals how musical theater between the coasts inhabits the middle spaces between professional and amateur, urban and rural, fact and fiction, fantasy and reality, and truth and falsehood. The homegrown musical provides a space to engage belief and religion—imagining a better world while creating opportunities to expand what is possible in the current one. Whether it is the Oklahoma Senior Follies or a Mormon splinter group's production of The Sound of Music, such productions give people a chance to jolt themselves out of today's post-truth malaise and move toward a world more in line with their desires for justice, reconciliation, and community. Vibrant and strikingly original, Lying in the Middle discovers some of the most potent musical theater taking place in the hoping, beating hearts of Americans.

Singular and star-studded writings on America’s neon-lit playground At once a Technicolor wonderland and the embodiment of American mythology, Las Vegas exists at the Ground Zero of a reverence for risk-taking and the transformative power of a winning hand. Jake Johnson edits a collection of short essays and flash ideas that probes how music-making and soundscapes shape the City of Second Chances. Treating topics ranging from Cher to Cirque de Soleil, the contributors delve into how music and musicians factored in the early development of Vegas’s image; the role of local communities of musicians and Strip mainstays in sustaining tensions between belief and disbelief; the ways aging showroom stars provide a sense of timelessness that inoculates visitors against the outside world; the link connecting fantasies of sexual prowess and democracy with the musical values of Liberace and others; considerations of how musicians and establishments gambled with identity and opened the door for audience members to explore Sin City–only versions of themselves; and the echoes and energy generated by the idea of Las Vegas as it travels across the country. Contributors: Celine Ayala, Kirstin Bews, Laura Dallman, Joanna Dee Das, James Deaville, Robert Fink, Pheaross Graham, Jessica A. Holmes, Maddie House-Tuck, Jake Johnson, Kelly Kessler, Michael Kinney, Carlo Lanfossi, Jason Leddington, Janis McKay, Sam Murray, Louis Niebur, Lynda Paul, Arianne Johnson Quinn, Michael M. Reinhard, Laura Risk, Cassaundra Rodriguez, Arreanna Rostosky, and Brian F. Wright

Often dismissed as escapism, screen musicals of the 1960s in fact tapped into unspoken sadness about an America that was slipping away. Jake Johnson delves into film and television musicals of the era to examine their place in networks of grieving in America, for America, and about America.The Golden Age of musical theater ended just as Elisabeth KÜbler-Ross’s On Death and Dying debuted, and Johnson uses KÜbler-Ross’s five stages to frame the intertwining of musicals and grief. He analyzes films like Seven Brides for Seven Brothers and State Fair alongside paintings, poetry, and other images and texts to reveal how the musical theater engine built in the first half of the century broke down just as a new language emerged to describe the melancholy felt by people facing the end of the world they had known. Nuanced and original, Unstaged Grief plumbs the grief, loss, and hope behind the Technicolor spectacle and rousing showstoppers.

A multi-author collection of eighteen original superhero tales ranging from the dark to the hysterical to the downright bizarre, including 2016 Aurora Award nominee "e;Super Frenemies"e; by Stephen Kotowych."e;And Introducing the Scarlet Scrapper"e; by Leonard Apa: A Golden Age tale of an actor who hates playing a superhero on the radio but discovers a new role awaiting him."e;Sovereign's Last Hurrah"e; David Court: In a retirement home, elderly supervillains scheme to return an item of power to their greatest enemy."e;RIGHTMAN! Loses the Faith"e; Gary Cuba: Being a superhero is what you make of it, and what you can make from it."e;Dax and the Red Eyes"e; Adrienne Dellwo: Dax's disability prevents him from telling anyone about his brother using powers to hurt people."e;Dum Dum"e; Leod D. Fitz: Some supervillains are geniuses, and others are simply well-trained."e;Light Therapy"e; Che Gilson: Being a sidekick is a thankless job."e;Pinning Portugal"e; Elliotte Rusty Harold: A group of supervillains hatches a new scheme that naturally goes awry."e;When Fukayna Danced Her Libraries"e; Jake Johnson: Eventually even superheroes need to step away from the job."e;Super Frenemies"e; Stephen Kotowych: A group of super-powered children take on the neighborhood bully with surprising results."e;The Faces of the Wind"e; Laura Lamoreaux: After World War II, the country no longer needed superheroes, leaving the heroes with difficult decisions."e;Capacity Crowds"e; Paul McMahon: He wants to be a real superhero, but can't seem to find a villain to match him."e;Heart of the Matter"e; Robert J. Mendenhall: Cameron's powers are preventing the medical treatment that may save his life."e;Ebony Boneshaft, Secret Superhero"e; Wendy Qualls: She didn't mean to discover Ebony Boneshaft's secret identity, and when she did, it caused no end of trouble for her."e;Eye of the Beholder"e; Dave Ring: Being seen as the object of everyone's desire is a poor way to live life."e;I Am Hathor"e; Aaron Michael Ritchey & Jason Henry Evans: Balancing superheroics and motherhood is a difficult dance for Hathor."e;The Romulus Proposition"e; Tim Rohr: When the mighty have fallen, it's probably because they were pushed."e;Saul, Again"e; Eric Rosenfield: A time traveler takes a circuitous, long-term approach to facing a dangerous villain."e;Damn the Dark, Damn the Light"e; K. H. Vaughan: There's a fine line between heroism and nihilism and sooner or later everyone crosses it.

The funeral business is changing. Don't let it bury you. Since its inception, the funeral and cemetery business has stuck to the status quo. After all, other than taxes, death is the only sure thing in life. But the world is changing more rapidly than ever. As a funeral or cemetery professional, you have to keep up if you don't want to get buried. Written by Jake Johnson, president and CEO of the premier consulting firm for the funeral and cemetery business, Staying Alive in the Funeral Profession holds the insights you need to understand current trends and opportunities to buy, grow, and sell while building a legacy you can be proud of.