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Big Little Lies (novel)
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This article is about the 2014 novel. For the TV series based on it, see Big Little Lies (TV series).
Big Little Lies
Author
Liane Moriarty
Published
2014
Publisher
Penguin Publishing
ISBN
978-0-399-16706-5
Big Little Lies is a 2014 novel written by Liane Moriarty. It was published in July 2014 by Penguin Publishing.[1] The novel made the New York Times Best Seller list.[2]
Contents
[hide]
1 Synopsis
2 Writing
3 Reception
4 Television adaptation
5 References
Synopsis[edit]
Jane, a single mother, is on her way to Pirriwee Public School, where her son Ziggy is starting kindergarten. On the way, she meets Madeline, another mother with a daughter of the same age. Madeline’s friend Celeste is also sending her twin sons, Max and Josh, to school. The two strike up a friendship with Jane. All three of them have their own problems: Madeline is resentful that her daughter from her previous marriage is growing close to her ex-husband's new wife, Bonnie; Celeste is physically abused by her rich banker husband, Perry; and Jane was raped and left to raise her son Ziggy on her own. To make matters worse for her, Ziggy is accused of bullying a classmate on his first day of school.
As months pass, the three become close and Jane shares her experience with the other women. With the information Jane gives, Celeste and Madeline realize that the father is Perry's cousin, Saxon Banks, but decide to keep it from Jane for the time being. Meanwhile, Celeste's marriage becomes even more violent and she starts meeting a counselor and rents an apartment for herself, without Perry's knowledge. Ziggy is once again accused of bullying his classmate, though he denies it.
On the night of Pirriwee Public's Trivia Night, Josh tells Celeste that it is Max, not Ziggy, who is bullying the other children. She realizes that Max is mimicking Perry and finally decides to leave him. Perry finds out about the new house, and despite being shaken, the couple still goes to the Trivia Night.
Once they reach the school, Jane sees Perry and realizes that he is, in fact, "Saxon Banks" and confronts him in front of Madeline and Celeste. Celeste recalls Perry's childhood stories where he used his cousin's name to avoid trouble for himself. Perry admits to raping Jane but shows no remorse. In the ensuing argument between them, Perry hits Celeste. Enraged by what she has witnessed, Bonnie pushes him to his death from the balcony.
In the aftermath of the fall, Madeline finds out that Bonnie had an abusive father and seeing Perry's violence brought back bad memories. Everybody on the balcony decides to lie to protect Bonnie, but she turns herself in. She is only sentenced to 200 hours of community service. A year after Perry's death, Celeste works in a family law firm and sets up a trust fund for Ziggy. She speaks publicly about her abusive relationship, starting her speech with: "This can happen to anyone."
Writing[edit]
Moriarty's main inspiration for the story came from a radio interview she heard in which a woman recounted her parents' abusive relationship.[3] The woman narrated how, even as an adult, she hid under her bed to escape her parents' fighting, an experience Moriarty ended up using as a scene in the book.[3] Initially, the book was a first-person narrative from each of the three main characters, but Moriarty soon decided against it, instead interjecting minor characters' statements between portions of the story.[4]
Reception[edit]
Big Little Lies has generally been well received by critics, who praised the book's balance of humour with more serious issues like domestic abuse. Janet Maslin of The New York Times wrote: "A seemingly fluffy book suddenly touches base with vicious reality, in ways that may give Big Little Lies even more staying power than The Husband's Secret [Moriarty's previous book]."[5] Roberta Bernstein of USA Today gave it three stars out of four, deeming it "a fun, engaging and sometimes disturbing read, even if the characters are more conceits than flesh and blood."[6] Leah Greenblatt of Entertainment Weekly gave it an A and noted that, while the book fell in the "chick-lit" category, Moriarty still offered "insights [that] aren’t any less wise or funny or true just because she sometimes likes a champagne metaphor or hangs her story on a shoe."[7] Carol Memmott of The Washington Post agreed, writing: "It takes a powerful stand against domestic violence even as it makes us laugh at the adults whose silly costume party seems more reminiscent of a middle-school dance."[8]
Television adaptation[edit]
Main article: Big Little Lies (TV series)
A television mini-series adaptation of the novel was produced by HBO titled Big Little Lies, filmed on location in Monterey, California. It was originally released February 19, 2017 on HBO. The mini-series stars Nicole Kidman, Reese Witherspoon, Shailene Woodley, Alexander Skarsgård, Adam Scott, Laura Dern, and Zoë Kravitz, and won 8 Emmy Awards at the 2017 Primetime Emmy Awards including Outstanding Miniseries. [9][10]
Despite being called a miniseries, HBO announced in December 2017 that the series would return for a second season.[11]
References[edit]
Jump up ^ "Big Little Lies". Barnes & Noble. Retrieved 23 June 2015.
Jump up ^ "Combined Print & E-Book Fiction Books - Best Sellers - August 17, 2014 - The New York Times". Retrieved 2017-05-25.
^ Jump up to: a b Patrick, Bethanne (July 22, 2014). "Liane Moriarty: 'We're all capable of things that are breathtakingly cruel'". The Guardian. Retrieved 23 June 2015.
Jump up ^ Stevens, Reagan (December 2014). "Interview with Liane Moriarty". Goodreads. Retrieved 23 June 2015.
Jump up ^ Maslin, Janet (July 25, 2014). "How Was School? Deadly In Big Little Lies, Liane Moriarty Finds New Complications". The New York Times. Retrieved 23 June 2015.
Jump up ^ Bernstein, Roberta (July 28, 2014). "The truth hurts in page-turning 'Big Little Lies'". USA Today. Retrieved 23 June 2015.
Jump up ^ Greenblatt, Leah (August 7, 2014). "Big Little Lies". Entertainment Weekly. Retrieved 23 June 2015.
Jump up ^ Memmott, Carol (August 4, 2014). "'Big Little Lies,' by Liane Moriarty, reveals parents' ugly secrets in quiet Aussie town". The Washington Post. Retrieved 23 June 2015.
Jump up ^ Andreeva, Nellie (2015-05-08). "'Big Little Lies' With Nicole Kidman & Reese Witherspoon Lands At HBO". Deadline. Retrieved 2017-04-07.
Jump up ^ Goldberg, Lesley (December 5, 2015). "Shailene Woodley Joins HBO's Reese Witherspoon, Nicole Kidman Drama". The Hollywood Reporter. Retrieved December 5, 2015.
Jump up ^ Hibberd, James (December 8, 2017). "Big Little Lies renewed for season 2 with new director". Entertainment Weekly. Retrieved December 8, 2017.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Big_Little_Lies_(novel)&oldid=839283158"
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Airplane mode
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Nexus 5; Android 4.4.2, in airplane mode
Airplane mode, aeroplane mode, flight mode, offline mode, or standalone mode is a setting available on smartphones and other portable computers that, when activated, suspends radio-frequency signal transmission by the device, thereby disabling Bluetooth, telephony, and Wi-Fi. GPS may or may not be disabled, because it does not involve transmitting radio waves.
The name comes from the prohibition by most of the airlines of using equipment transmitting radio-frequency signal while in flight; using airplane mode prevents devices from transmitting.
When the "aeroplane mode" is activated, it disables all voice, text, telephone, and other signal-transmitting technologies such as Wi-Fi and Bluetooth. Wi-Fi and Bluetooth can be enabled separately even while the device is in airplane mode; this is acceptable on some aircraft.[1][2] Receiving radio-frequency signals, as by radio receivers and satellite navigation services, is not inhibited. However, even receiving telephone calls and messages without responding would require the phone to transmit.
In a revised review in October 2013, the United States Federal Aviation Administration (FAA) made a recommendation on the use of electronic devices in "airplane mode"—cellular telephony is disabled, while Wi-Fi may be used if the carrier offers it. Short-range transmission such as Bluetooth is always permissible. The statement cites the common practice of aircraft operators whose aircraft can tolerate use of these personal electronic devices, but use may still be prohibited on some models of aircraft.[3]
While in airplane mode, most devices allow the user to continue to use their email client or other program to write text or E-mail messages which are saved in memory to send when airplane mode is disabled.
Although it is not possible to make normal calls or send text in airplane mode, devices such as some Nokia smartphones allow the user to make calls to emergency services even in airplane mode, while others do not.
As a side-effect, airplane mode reduces power consumption and increases battery endurance by shutting down the device's transmitters and receivers.
Legal status in various nations[edit]
Parts of this article (those related to chapter) need to be updated. Please update this article to reflect recent events or newly available information. (January 2018)
China: Prior to September 2017, all cell phones, even with Airplane mode, were never allowed to be used during the flight although other devices can be used while in cruising altitude. On September 18, 2017, the Civil Aviation Authority of China relaxed these rules and allowed all Chinese air carriers to allow the use of Portable Electronic Devices (PEDs) for the entire flight as long as they're in Aeroplane Mode.[4]
Europe: On December 9, 2013, the European Aviation Safety Agency updated its guidelines on portable electronic devices (PEDs), allowing them to be used throughout the whole flight as long as they're set in Airplane mode.[5]
India: On 23 April 2014, the Directorate General of Civil Aviation (DGCA) amended the rule which bans use of portable electronic devices and allowing their usage in all phases of flight.[6]
References[edit]
Jump up ^ "iOS: Understanding airplane mode". Apple Support. April 14, 2015. If allowed by the aircraft operator and applicable laws and regulations, you can re-enable Wi-Fi and Bluetooth while in airplane mode
Jump up ^ "Android: AIRPLANE_MODE_RADIOS". A comma separated list of radios that need to be disabled when airplane mode is on. This overrides WIFI_ON and BLUETOOTH_ON, if Wi-Fi and bluetooth are included in the comma separated list.
Jump up ^ "FAA to Allow Airlines to Expand Use of Personal Electronics". Federal Aviation Administration. 2014-10-31. Cell phones should be in airplane mode or with cellular service disabled—i.e., no signal bars displayed—and cannot be used for voice communications based on FCC regulations that prohibit any airborne calls using cell phones. If your air carrier provides Wi-Fi service during flight, you may use those services. You can also continue to use short-range Bluetooth accessories, like wireless keyboards. [...] The PED Aviation Rulemaking Committee (ARC) concluded most commercial airplanes can tolerate radio interference signals from PEDs. In a recent report, they recommended that the FAA provide airlines with new procedures to assess if their airplanes can tolerate radio interference from PEDs. Once an airline verifies the tolerance of its fleet, it can allow passengers to use handheld, lightweight electronic devices—such as tablets, e-readers, and smartphones—at all altitudes
Jump up ^ "China's air passengers could soon be allowed to use smartphones". scmp.com.
Jump up ^ Attwooll, Jolyon (5 February 2016). "Regulator confirms tablets safe to use during take-off" – via www.telegraph.co.uk.
Jump up ^ "DGCA allows in-flight use of mobile phones, tablets on flight mode". indianexpress.com. 23 April 2014.
External links[edit]
Copa Airlines' cell phone policy
QANTAS policy on usage of flight mode
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Record producer
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For "producer" as used in reference to hip hop music, see Hip hop production.
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Record producer
A recording session in Denmark
Occupation
Names
Record producer, music producer
Occupation type
Profession
Activity sectors
Music Industry
Description
Competencies
Instrumental skills, keyboard knowledge, songwriting, arranging, vocal coaching
Fields of
employment
Recording Studios
Related jobs
Recording engineer, executive producer, film producer, A&R
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album.[1] A producer has many, varying roles during the recording process.[2] They may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements.
A producer may also:
Select session musicians to play rhythm section accompaniment parts or solos
Co-write.[3]
Propose changes to the song arrangements, and
Coach the singers and musicians in the studio
The producer typically supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage. The producer may perform these roles themself, or help select the engineer, and provide suggestions to the engineer. The producer may also pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
Contents
1 Function
2 History
3 Equipment and technology
4 Studio application
5 See also
6 Notes
7 References
8 Further reading
Function[edit]
A record producer or music producer has a very broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, and supervising the entire process through audio mixing (recorded music) and, in some cases, to the audio mastering stage. Producers also often take on a wider entrepreneurial role, with responsibility for the budget, schedules, contracts, and negotiations. In the 2010s, the recording industry has two kinds of producers with different roles: executive producer and music producer. Executive producers oversee project finances while music producers oversee the creative process of recording songs or albums. A record producer who produces a song for another producer without receiving recognition is a ghost producer.
In most cases the music producer is also a competent arranger, composer, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer often selects or gives suggestions to the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools and creates a stereo or surround sound "mix" of all the individual voices sounds and instruments, which is in turn given further adjustment by a mastering engineer. The producer will also liaise with the recording engineer who concentrates on the technical aspects of recording, whereas the executive producer keeps an eye on the overall project's marketability.
Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is actually music director. The music producer's job is to create, shape, and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will typically develop an overall vision for the album and how the various songs may interrelate.
History[edit]
At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live.[4] The immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and often led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records. By the end of the 1930s, the first professional recording studios not owned by the major companies were established, essentially separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became widely used in the industry.
The role of producers changed progressively over the 1950s and 1960s due to technological developments. The development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song (lead vocals, backup vocals, rhythm section instrument accompaniment, solos and orchestral parts) had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline, drums, and rhythm guitar could be recorded first, and then the vocals and solos could be added later, using as many "takes" (or attempts) as it took. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, and then a horn section could be brought in a week later to add horn shots and punches, and then a string section could be brought in a week after that.
While this facilitated the recording process and allow multiple takes, the multitrack recording had another profound effect on music production [5][6] it enabled producers and audio engineers to create new sounds that would be impossible to do in a live performance style ordering. Examples include the psychedelic rock sound effects of the 1960s, e.g. playing back the sound of recorded instruments backward changing the tape to produce unique sound effects. During the same period, the instruments of popular music began to shift from the acoustic instruments of traditional music (piano, upright bass, acoustic guitar, strings, brass and wind instruments) to electric piano, electronic organ, synthesizer, electric bass and electric guitar. These new instruments were electric or electronic, and thus they used instrument amplifiers and speaker enclosures (speaker cabinets) to create sound.
Electric and electronic instruments and amplifiers enabled performers and producers to change the tone and sound of instruments to produce unique electric sounds that would be impossible to achieve with acoustic instruments and live performers, such as having a singer do her own backup vocals or having a guitarist play 15 layers of backing parts to her own solo.[7]
New technologies like multitracking changed the goal of recording: A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis' album Bitches Brew, the producer cut and edited sections together from extensive improvisation sessions.
Phil Spector producing Modern Folk Quartet, 1966
Producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realize in live performance. Producers became creative figures in the studio. Other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu.[8]
Brian Wilson at a mixing board in Brother Studios, 1976
Another related phenomenon in the 1960s was the emergence of the performer-producer. As pop acts like The Beatles, The Rolling Stones, The Beach Boys and The Kinks gained expertise in studio recording techniques, many of these groups eventually took over as (frequently uncredited) producers of their own work. Many recordings by acts such as The Rolling Stones, The Kinks and The Who are officially credited to their various producers at the time, but a number of these performers have since asserted that many of their recordings in this period were, either wholly self-produced (e.g. The Rolling Stones' Decca recordings) or collaborations between the group and their recording engineer (e.g. The Small Faces' Immediate recordings, which were made with Olympic Studios engineer Glyn Johns).[nb 1]
The Beach Boys are probably the best example of the trend of artists becoming producers – within two years of the band's commercial breakthrough, group leader Brian Wilson had taken over from his father Murry, and he was the sole producer of all their recordings between 1963 and 1967. Alongside The Beatles and Martin, Wilson also pioneered many production innovations – by 1964 he had developed Spector's techniques to a new level of sophistication, using multiple studios and multiple "takes" of instrumental and vocal components to capture the best possible combinations of sound and performance, and then using tape editing extensively to assemble a perfect composite performance from these elements.
At the end of the 20th century, digital recording and producing tools, then widespread availability of relatively affordable computers with music software made music producing more accessible.
Equipment and technology[edit]
Mixing console.
There are numerous technologies utilized by record producers. In modern-day recordings, recording and mixing tasks are commonly centralized within computers using digital audio workstations such as Pro Tools, Logic Pro, Ableton, Cubase, and FL Studio, which all are often used with third party virtual studio technology plugins.[9] Logic Pro and Pro Tools are considered the industry standard DAWs.[10][11] However, there is also the main mixer, outboard effects gear, MIDI controllers, and the recording device itself.
While most music production is done using sophisticated software, some musicians and producers prefer the minutiae of older analog technology. Professor Albin Zak claims that the increased automation of both newer processes and newer instruments reduces the level of control and manipulation available to musicians and producers.[12]
Studio application[edit]
Production has changed drastically over the years with advancing technology. Where the producer's role has changed, they have always been seen as a jack of all trades, as their duties require a broad knowledge of the recording process.[13]
Tracking is the act of recording audio to a DAW (digital audio workstation) or in some cases to tape. Even though digital technologies have widely supplanted the use of tape in studios, the older term "track" is still used in the 2010s. Tracking audio is primarily the role of the audio engineer. Producers work side by side with the artists while they play or sing their part and coach them on how to perform it and how to get the best technical accuracy (e.g., intonation). In some cases, the producer will even sing a backup vocal or play an instrument.
Many artists are also beginning to produce and write their own music.[14]
See also[edit]
Business and economics portal
Music portal
Audio engineering
Electronic music
Hip hop production
Music executive
Musician
Notes[edit]
Jump up ^ Similarly, although The Beatles' productions were credited to George Martin throughout their recording career, many sources now attest that Lennon and McCartney in particular had an increasing influence on the production process as the group's career progressed, and especially after the band retired from touring in 1966. In an extreme example of this, Martin actually went on a two-week vacation as The Beatles were recording The White Album; production of several completed tracks on the album were credited to The Beatles on internal paperwork at Abbey Road Studios, although the released LP gave sole production credit to Martin.
References[edit]
Jump up ^ "What does a music producer do, anyway ? – Production Advice". productionadvice.co.uk. Retrieved 2017-01-09.
Jump up ^ "What Does a Music Producer Do?". Recording Connection Audio Institute. 2013-05-20. Retrieved 2017-01-09.
Jump up ^ Weissman, Richard: Understanding the Music Business "[1]." (2016) Retrieved 9 June. 2017.
Jump up ^ Yuval Gerstein The role of the music producer - A short historical overview
Jump up ^ "Music Production Degree". berklee mag.
Jump up ^ "Music production should be offered to students of all disciplines". statepress.
Jump up ^ "Game Changer Beats Trap Beats and Type Beats Home Page - Game Changer Beats". Game Changer Beats. Retrieved 2017-07-11.
Jump up ^ Kot, Greg (2016-03-10). "What does a record producer do?". BBC. Retrieved 2016-01-09.
Jump up ^ "Digital Audio Workstations" (PDF). Center for Computer Research in Music and Acoustics. Stanford University. Retrieved 2016-05-15.
Jump up ^ "Which DAW is the Industry Standard?". Agenda Red. Retrieved 2016-05-15.
Jump up ^ Joseph, Kiesha (Feb 11, 2016). "AUDIO RECORDING SOFTWARE: AVID PRO TOOLS VS APPLE LOGIC PRO X". F.I.R.S.T. INSTITUTE BLOG. first.edu. Retrieved 2016-05-15.
Jump up ^ Zak,Albin J., I.,II. (2002). Reviews: "strange sounds: Music, technology, and culture," by timothy D. taylor. Current Musicology, , 159-180.
Jump up ^ Pras, Amandine, Caroline Cance, and Catherine Guastavino. "Record Producers' Best Practices For Artistic Direction—From Light Coaching To Deeper Collaboration With Musicians." Journal of New Music Research 42.4 (2013): 381-95. Academic Search Premier. Web. 7 Sept. 2015.
Jump up ^ Casetti, Chris. "Triple Threats: 13 Female Singers Who Write And Produce Their Own Work". VH1 News. VH1 News. Retrieved 20 September 2018.
Further reading[edit]
Gibson, David and Maestro Curtis. "The Art of Producing". 1st. Ed. USA. ArtistPro Publishing, 2004. ISBN 1-931140-44-8
Burgess, Richard James. The Art of Music Production. 4th Ed. UK. Music Sales, 2005. ISBN 1-84449-431-4
Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. ISBN 978-0-313-39348-8.
Hewitt, Michael. Music Theory for Computer Musicians. 1st Ed. USA. Cengage Learning, 2008. ISBN 1598635034
Gronow, Pekka and Ilpo Saunio (1998). An International History of the Recording Industry. Cited in Moorefield (2005).
Moorefield, Virgil (2005). The Producer as Composer: Shaping the Sounds of Popular Music.
Olsen, Eric et al. (1999). The Encyclopedia of Record Producers. ISBN 978-0-8230-7607-9
Zak, Albin. The Poetics of Rock: Cutting Tracks, Making Records. Berkeley: University of California Press, 2001.
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values: Музыкальный продюсер – Russian

values:
interlanguage-link interwiki-sco
display: none;

values:
interlanguage-link interwiki-sq
display: none;

values:
interlanguage-link interwiki-simple
display: none;

values:
interlanguage-link interwiki-sk
display: none;

values:
interlanguage-link interwiki-sl
display: none;

values: بەرھەمھێنەری تۆمار – Central Kurdish

values:
interlanguage-link interwiki-ckb
display: none;

values: Музички продуцент – Serbian

values:
interlanguage-link interwiki-sr
display: none;

values:
interlanguage-link interwiki-sh
display: none;

values:
interlanguage-link interwiki-fi
display: none;

values:
interlanguage-link interwiki-sv
display: none;

values: โปรดิวเซอร์เพลง – Thai

values:
interlanguage-link interwiki-th
display: none;

values:
interlanguage-link interwiki-tr
display: none;

values: Музичний продюсер – Ukrainian

values:
interlanguage-link interwiki-uk
display: none;

values: پیش کار موسیقی – Urdu

values:
interlanguage-link interwiki-vi
display: none;

values:
interlanguage-link interwiki-diq
display: none;

values: All languages (initial selection from common choices by you and others)

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Record_producer rootpage-Record_producer skin-vector action-view