Explore the vast range of titles available.

PurposeRestaurants are challenged to secure attraction attributes that provide motives, satisfaction and experiences for guests. The social interaction between server and guest can provide. Our case study aims to examine the perspectives of hospitality executives towards showmanship and server performances in restaurants to enhance servicescape and elevate guest experiences.Design/methodology/approachA literature review examined employee showmanship as part of the cocreation of gastronomic experiences and servicescape. Additional data were obtained from semi-structured interviews with 15 hospitality executives affiliated with Macao’s integrated resorts (IRs), and the information was examined using thematic analysis.FindingsThe study outcomes showed management support for showmanship performed by servers or chefs in cocreating immersive memorable dining experiences and social media and user-generated content (UGC). This was perceived to distinguish a restaurant from the competition. However, server talent and showmanship interaction with guests must be well managed, and bundled with additional restaurant servicescape attributes.Practical implicationsThe comments from hospitality management provide key insights towards implementing and maintaining showmanship which will involve resource challenges including server artisan talent and restaurant design.Originality/valueServer showmanship social interaction and value cocreation with guests are rarely discussed, although a key part of guest restaurant motivation and in creating an immersive experience. We address the limited understanding of hospitality management assessment towards developing showmanship, providing practical perspectives to assist restaurant and bar management to integrate and develop showmanship to enhance customer dining experiences.

The behind-the-scenes story of how admen and sponsors helped shape broadcasting into a popular commercial entertainment medium. During the \"golden age\" of radio, from roughly the late 1920s until the late 1940s, advertising agencies were arguably the most important sources of radio entertainment. Most nationally broadcast programs on network radio were created, produced, written, and/or managed by advertising agencies: for example, J. Walter Thompson produced \"Kraft Music Hall\" for Kraft; Benton & Bowles oversaw \"Show Boat\" for Maxwell House Coffee; and Young & Rubicam managed \"Town Hall Tonight\" with comedian Fred Allen for Bristol-Myers. Yet this fact has disappeared from popular memory and receives little attention from media scholars and historians. By repositioning the advertising industry as a central agent in the development of broadcasting, author Cynthia B. Meyers challenges conventional views about the role of advertising in culture, the integration of media industries, and the role of commercialism in broadcasting history. Based largely on archival materials, A Word from Our Sponsor mines agency records from the J. Walter Thompson papers at Duke University, which include staff meeting transcriptions, memos, and account histories; agency records of BBDO, Benton & Bowles, Young & Rubicam, and N. W. Ayer; contemporaneous trade publications; and the voluminous correspondence between NBC and agency executives in the NBC Records at the Wisconsin Historical Society. Mediating between audiences' desire for entertainment and advertisers' desire for sales, admen combined \"showmanship\" with \"salesmanship\" to produce a uniquely American form of commercial culture. In recounting the history of this form, Meyers enriches and corrects our understanding not only of broadcasting history but also of advertising history, business history, and American cultural history from the 1920s to the 1940s.

El paso de la novela al teatro de Roberto Arlt siempre ha interesado a la crítica literaria. Este trabajo detalla el camino que recorrió el autor en la transición de un género a otro y repasa las principales teorías que intentan explicar los motivos de este cambio, para hablar, después, de la presencia de la teatralidad en toda su obra; de las conexiones de su narrativa con la tradición teatral argentina; del origen de su dramaturgia en relación al proyecto del Teatro del Pueblo; y, por último, de la narratividad de sus últimas obras

Imagine a stage full of black cats emitting electrical sparks, a man catching bullets with his teeth, or an evangelist jumping on a transformer to shoot bolts of lightning through his fingertips. These and other wild schemes were part of the repertoire of showmen who traveled from city to city, making presentations that blended science with myth and magic. InWonder Shows, Fred Nadis offers a colorful history of these traveling magicians, inventors, popular science lecturers, and other presenters of \"miracle science\" who revealed science and technology to the public in awe-inspiring fashion. The book provides an innovative synthesis of the history of performance with a wider study of culture, science, and religion from the antebellum period to the present. It features a lively cast of characters, including electrical \"wizards\" Nikola Tesla and Thomas Alva Edison, vaudeville performers such as Harry Houdini, mind readers, UFO cultists, and practitioners of New Age science. All of these performers developed strategies for invoking cultural authority to back their visions of science and progress. The pseudo-science in their wonder shows helped promote a romantic worldview that called into question the absolute authority of scientific materialism while reaffirming the importance of human spirituality. Nadis argues that the sensation that these entertainers provided became an antidote to the alienation and dehumanization that accompanied the rise of modern America. Although most recent defenders of science are prone to reject wonder, considering it an ally of ignorance and superstition,Wonder Showsdemonstrates that the public's passion for magic and meaning is still very much alive. Today, sales continue to be made and allegiances won based on illusions that products are unique, singular, and at best, miraculous. Nadis establishes that contemporary showmen, corporate publicists, advertisers, and popular science lecturers are not that unlike the magicians and mesmerists of years ago.

Realizing the need to place greater emphasis on vocal production in Two-Year College show groups, a grant proposal was submitted to the American Choral Directors Association (ACDA) to secure funding to develop an assessment form for the first-ever adjudicated festival featuring showchoirs in community colleges. A pilot study was enthusiastically received by the National Repertoire & Standards (R&S) Chair, who continues to encourage innovation and creativity in raising the standards of excellence for choral music. The Ken Thomas Showchoir Showdown, a non-adjudicated festival in Mississippi, was selected for the ACDA pilot study. Two-year college directors eagerly accepted the challenge to participate in the project that would provide adjudicators' comments with regard to Musical Effect, Choreography, and Overall Effect. Responses from the directors following the Showchoir Showdown were enthusiastic.

This chapter analyzes the advertising industry debates over the use of entertainment and “showmanship” as a selling tool on radio. Early in the radio era, admen debated about the usefulness and necessity of showmanship, fearing that entertainment could undermine advertising's status as a respectable business. Humor, in particular, threatened to overthrow the rational, reason-why, product-centered strategies of the hard sell proponents. However, the soft sell proponents considered entertainment as a powerful attention-getting device. The most prominent of the soft sell agencies was Young & Rubicam (Y&R), which became a major force in radio. They promoted integrated commercials, which wove the sponsor's name or product mentions into the program text. The Jell-O Program Starring Jack Benny, beginning in 1934, included Y&R's best-known use of integrated commercials.

Instructions are presented on sight-reading for show drummers. An explanation of music stand placement, long and short sounds in a variety of genres, and how to practice sight-reading are all included along with some illustrated exercises.

A case is made for classical Italian violinist Niccolò Paganini as the first rock star. Paganini was a sensation whose novel music, bizarre appearance, eccentric lifestyle, riveting stage presence, mammoth mass appeal, and monster showmanship forever changed musical culture. He single-handedly changed the course of music by inventing the cult of the performer in the 19th century. The brilliant violinist is profiled. Paganini purposely composed his music to be so complicated that only he would be able to play it, therefore few musicians have dared attempt to record any of his work. The recordings that exist are discussed.

Briefly discusses the trend toward greater showmanship in rock bands. Quotes Hutch, singer/guitarist for Ten Speed, and Nat Freedberg, who performs as singer Lord Bendover in The Upper Crust, on their interest in providing theatrical entertainment through costuming and interaction with the audience.

Profiles punk band Slipknot, composed of DJs Sid Wilson and Craig Jones, percussionists Joey Jordison, Chris Fehn and Shawn Crahan, guitarists Jim Root and Mick Thomson, bassist Paul Gray and vocalist Corey Taylor. Describes their position in the evolution of hard-rock shows, noting that they combine several of the more outrageous features from older acts like KISS and Gwar.