Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
Stand-up comedy is a comic style in which a comedian performs in front of a live audience speaking directly to them. The performer is known as a comic, stand-up comic, comedienne, stand-up comedian, or a stand-up. In stand-up comedy, the comedian gives the illusion that they are dialoguing, but in actuality, they are monologuing a grouping of humorous stories and one-liners called a shtick, routine, or set; some stand-up comedians use props, magic tricks to enhance their acts. Stand-up comedy is stated to be the "freest form of comedy writing", regarded as an "extension of" the person performing; the improvisation of stand-up is compared to jazz music. A comedian's process of writing is likened to the process of song writing. A comedian's ability to tighten their material has been likened to crafting a samurai sword; some of the main types of humor in stand-up comedy include observational comedy, blue comedy, dark comedy, clean comedy, cringe comedy. Alternative stand-up comedy deviates from the traditional, mainstream comedy by breaking either joke structure, performing in an untraditional scene, or breaking an audience's expectations.
Stand-up comedy is performed in corporate events, comedy clubs and pubs, neo-burlesques and theatres. Outside live performance, stand-up is distributed commercially via television, DVD, CD and the internet, it can take an amateur comedian about 10 years to perfect the technique needed to be a professional comedian. As the name implies, "stand-up" comedians perform their material while standing, though this is not mandatory. Similar acts performed while seated can be referred to as "sit-down comedy". "Comedians are more to exhibit psychotic traits" than the average person. In stand-up comedy, from the time the audience enters the building, their feedback is instant and crucial for the comedian's act. Audiences expect a stand-up comedian to provide four to six laughs per minute, a performer is always under pressure to deliver the first two minutes. A stand-up comedy show may be one comedian. A traditional format features an opening act known as a host, compère, master of ceremonies, or "opener" who, for 10-12 minutes warms up the crowd, interacts with audience members, makes announcements, introduces the other performers.
The second definition of an opener is applied when the opening act of a traveling comedian may perform a 25-minute set. The "showcase" format consists of several acts who perform for equal lengths of time, typical in smaller clubs such as the Comedy Cellar, or Jongleurs, or at large events where the billing of several names allows for a larger venue than the individual comedians could draw. A showcase format may still feature an MC. Many smaller venues hold open mic events, where anyone can take the stage and perform for the audience; this offers an opportunity for amateur performers to hone their craft and to break into the profession, or for established professionals to work on their material. Industry scouts will sometimes go to watch open mics. Breaking into the business requires "10 minute" of "A" material. Roadhouses start booking people for "20 minutes of'A' material". "A" material means getting a big laugh at least "75% of the time". "Bringer shows" are open mics that require amateur performers to bring a specified number of paying guests to receive stage time.
Some view this as exploitation. The guests have to pay a cover charge and there is a minimum number of drinks that must be ordered; these shows have a "showcase" format. Different comedy clubs have different requirements for their bringer shows. Gotham Comedy Club in New York City, for example has ten-person bringers, while Broadway Comedy Club in New York City has six-person bringers. In the'90s, the New York Comedy Club had pre-shows. In metropolitan areas, bringer shows may give comedians better exposure than open mics, because there is better audience turnout; this is an unpaid, five-to-ten-minute time slot, an audition to get booked for paid gigs. In stand-up comedy, a "canned" joke is made of a "premise...point of view" and "twist" ending. A joke contains the least amount of information necessary to be conveyed and laughed at. Most of stand-up comedy's jokes are the juxtaposition of two incongruous things. According to the founding editor of The Onion, there are eleven types of jokes. Stand-up comedians will deliver their jokes in the form of a typical joke structure, using comedic timing to deliver the setup and the punch line.
Stand-ups will frame their stories as having happened "recently." The comedian's delivery of a joke—the pause, inflection, "ener," and look—is "everything". Comedians include taglines (dependent punchlines that
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
A Very Good Production
A Very Good Production is an American film and television production company founded by comedian, television host, actress Ellen DeGeneres and Warner Bros. Television's Telepictures, it is known for producing the long-running series The Ellen DeGeneres Show. The company co-founded the former record label, eleveneleven in 2010. Happy Time Jekyll Little Funny Too Close To Home Green Eggs and Ham The Ellen DeGeneres Show Ellen's Design Challenge Little Big Shots Ellen's Game of Games Splitting Up Together Bethenny Repeat After Me One Big Happy Heads Up! Little Big Shots: Forever Young First Dates The Smart One Sophia Grace & Rosie's Royal Adventure Nancy Drew and the Hidden Staircase Two Steps Forward Castle Hangnail Tig Notaro: Happy To Be Here Ellen DeGeneres: Relatable A Very Good Production on IMDb
Atlantic Recording Corporation is an American record label founded in October 1947 by Ahmet Ertegün and Herb Abramson. Over its first 20 years of operation, Atlantic earned a reputation as one of the most important American labels, specializing in jazz, R&B, soul by Aretha Franklin, Ray Charles, Wilson Pickett and Dave, Ruth Brown and Otis Redding, its position was improved by its distribution deal with Stax. In 1967, Atlantic became a wholly owned subsidiary of Warner Bros.-Seven Arts, now the Warner Music Group, expanded into rock and pop music with releases by Led Zeppelin and Yes. In 2004, Atlantic and its sister label. Craig Kallman is the chairman of Atlantic. Ahmet Ertegün served as founding chairman until his death on December 14, 2006, at age 83. In 1944, brothers Nesuhi and Ahmet Ertegun remained in the United States when their mother and sister returned to Turkey after the death of their father Munir Ertegun, Turkey's first ambassador to the U. S; the brothers were fans of jazz and rhythm & blues, amassing a collection of over 15,000 78 RPM records.
Ahmet ostensibly stayed in Washington to undertake post-graduate music studies at Georgetown University but immersed himself in the Washington music scene and entered the record business, enjoying a resurgence after wartime restrictions on the shellac used in manufacture. He convinced the family dentist, Dr. Vahdi Sabit, to invest $10,000 and hired Herb Abramson, a dentistry student. Abramson had worked as a part-time A&R manager/producer for the jazz label National Records, signing Big Joe Turner and Billy Eckstine, he had no interest in its most successful musicians. In September 1947, he sold his share in Jubilee to his partner, Jerry Blaine, invested $2,500 in Atlantic. Atlantic was run by Abramson and Ertegun. Abramson's wife Miriam ran the label's publishing company, Progressive Music, did most office duties until 1949 when Atlantic hired its first employee, bookkeeper Francine Wakschal, who remained with the label for the next 49 years. Miriam gained a reputation for toughness. Staff engineer Tom Dowd recalled, "Tokyo Rose was the kindest name some people had for her" and Doc Pomus described her as "an extraordinarily vitriolic woman".
When interviewed in 2009, she attributed her reputation to the company's chronic cash-flow shortage: "... most of the problems we had with artists were that they wanted advances, and, difficult for us... we were undercapitalized for a long time." The label's office in the Ritz Hotel in Manhattan proved too expensive, so they moved to a room in the Hotel Jefferson. In the early fifties, Atlantic moved from the Hotel Jefferson to offices at 301 West 54th St and to 356 West 56th St. Atlantic's first recordings were issued in late January 1948 and included "That Old Black Magic" by Tiny Grimes and "The Spider" by Joe Morris. In its early years, Atlantic concentrated on modern jazz although it released some country and western and spoken word recordings. Abramson produced "Magic Records", children's records with four grooves on each side, each groove containing a different story, so the story played would be determined by the groove in which the stylus happened to land. In late 1947, James Petrillo, head of the American Federation of Musicians, announced an indefinite ban on all recording activities by union musicians, this came into effect on January 1, 1948.
The union action forced Atlantic to use all its capital to cut and stockpile enough recordings to last through the ban, expected to continue for at least a year. Ertegun and Abramson spent much of the late 1940s and early 1950s scouring nightclubs in search of talent. Ertegun composed songs under the alias "A. Nugetre", including Big Joe Turner's hit "Chains of Love", recording them in booths in Times Square giving them to an arranger or session musician. Early releases included music by Sidney Bechet, Barney Bigard, The Cardinals, The Clovers, Frank Culley, The Delta Rhythm Boys, Erroll Garner, Dizzy Gillespie, Tiny Grimes, Al Hibbler, Earl Hines, Johnny Hodges, Jackie & Roy, Lead Belly, Meade Lux Lewis, Professor Longhair, Shelly Manne, Howard McGhee, Mabel Mercer, James Moody, Joe Morris, Art Pepper, Django Reinhardt, Pete Rugolo, Pee Wee Russell, Bobby Short, Sylvia Syms, Billy Taylor, Sonny Terry, Big Joe Turner, Jimmy Yancey, Sarah Vaughan, Mal Waldron, Mary Lou Williams. In early 1949, a New Orleans distributor phoned Ertegun to obtain Stick McGhee's "Drinking Wine, Spo-Dee-O-Dee", unavailable due to the closing of McGhee's previous label.
Ertegun knew Stick's younger brother Brownie McGhee, with whom Stick happened to be staying, so he contacted the McGhee brothers and re-recorded the song. When released in February 1949, it became Atlantic's first hit, selling 400,000 copies, reached No. 2 after spending six months on the Billboard R&B chart – although McGhee himself earned just $10 for the session. Atlantic's fortunes rose rapidly: recorded 187 songs were recorded in 1949, more than three times the amount from the previous two years, received overtures for a manufacturing and distribution deal with Columbia, which would pay Atlantic a 3% royalty on every copy sold. Ertegun asked about artists' royalties, which he paid, this surprised Columbia executives, who did not, the deal was scuttled. On the recommendation of broadcaster Willis Conover and Abramson visited Ruth Brown at the Crystal Caverns club in Washington and invited her to audition for Atlantic, she was injured in a car accident en route to New York City, but Atlantic supported her for nine months and signed her.
Universe of Energy
The Universe of Energy was a pavilion located in the eastern half of Future World at Epcot. The pavilion contained one attraction, Ellen's Energy Adventure, starring Ellen DeGeneres and Bill Nye, the second version of the show since the pavilion's 1982 opening; the attraction featured a combination of four separate large-format film presentations and a slow-moving dark ride through audio-animatronic filled sets. The Universe of Energy pavilion was sponsored by ExxonMobil from opening day on October 1, 1982, through 2004; the attraction closed permanently on August 13, 2017, being replaced with a Guardians of the Galaxy-themed roller coaster that will reuse the Universe of Energy's show building. The original Universe of Energy pavilion itself was an innovation in energy technology, as the entire roof was covered in 80,000 photovoltaic solar cells that powered the ride vehicles. Visitors were transported through the pavilion in large battery-powered "traveling theatre cars" that followed guide-wires embedded in the floor as opposed to riding along conventional ride tracks.
The original attraction featured numerous films that presented information on the subject of energy in a serious fashion as well as a ride through a primeval diorama complete with audio-animatronic dinosaurs. The original pre-show featured an eight-minute live-action film presentation about the various forms of energy found in nature and traced the history of how mankind harnessed these different forms of energy for his use; this unique film presentation was known as the Kinetic Mosaic and was invented by Czech film director Emil Radok. The mosaic screen consisted of 100 rotating prism-shaped flip screens, arranged in a twenty five wide by four high array; these flip screens rotated under computer control and were synchronized to the motion picture, projected onto their surface via five synchronized motion picture projectors. Each flip screen contained three sides, with white projection surfaces on two sides and a matte black surface on the third; the combination of the film and the screens' rotation created undulating, sometimes three-dimensional-appearing images.
During the conclusion of the pre-show, the song Energy was played. Upon entering the theatre, guests were seated in one of six sections; the seating area rotated 180 degrees to face three large movie screens for the first film: a four-minute hand-animated film that depicted the beginnings of life on earth and the formation of fossil fuels. At the conclusion of the film, the seating area rotated 90 degrees to face a curtain, which raised to reveal a primeval diorama; the entire seating area moved into the diorama where it broke apart into six multi-passenger vehicles that took guests on a seven-minute journey through the diorama, populated by numerous animatronic dinosaurs including an Edaphosaurus and two Arthropleura fighting and a family of Brontosaurus in a swamp, a Stegosaurus fighting an Allosaurus on an overhead cliff, several Trachodon bathing beneath a waterfall, a number of Ornithomimus watching helplessly as one of their own sank into a boiling tar pit, an Elasmosaurus that lashed out of a tidal pool at guests, numerous Pteranodon that were perched around an erupting volcano.
Leaving the diorama, the vehicles entered the EPCOT Energy Information Center where they reassembled back into their original theatre seating formation. Here, guests viewed a twelve-minute live-action film on three giant wrap around screens that took them on an in-depth look at various current and future energy resources around the world. At the conclusion of the film, the screens raised and the entire seating area traveled beneath them into Theatre I and rotated back into its starting position facing the audience towards a large cylindrical-shaped screen. There, guests viewed a two-minute computer-animated film, reflected off of mirrored walls within the theatre; the film depicted an ever-evolving landscape of colorful, laser-like imagery of the various ways mankind has benefited from harnessing energy for his use and was accompanied by an upbeat song entitled Universe of Energy. The Summer of 1996 saw many changes come to Future World East. World of Motion closed in January of that year to make way for Test Track, Horizons was not operating due to alleged structural issues with the pavilion.
The updated films for the attraction were behind schedule and with that side of Future World set to only have Wonders of Life open for the summer peak season, the decision was made to reopen Universe of Energy after renovations had been made to the pavilion in preparation for the new show. This version of the ride featured all of the original films from the 1982 version, but lacked some of the effects. Most notably, the Kinetic Mosaic screen from the original pre-show had been removed resulting in the film being projected onto static screens which resulted in the shape-shifting effect of the film being lost. Removed were the maps and television monitors on the wall in the EPCOT Energy Information Center in Theatre II, having been replaced by the KNRG radio tower backdrop for the new show. For this scene, a new narration played that covered much of the same information as the original narration minus any mention of the maps and monitors. In Theatre I, the mirrors on the walls had been removed by this point, resulting in a much less dramatic version of the finale film.
During this period, some elements for the new show had been installed in preparation for the new show and had to be hidden. This included the Audio-Animatronic figure of Ellen DeGeneres in the diorama. T
Ellen's Design Challenge
Ellen's Design Challenge is an American furniture design reality competition series that premiered on January 26, 2015, on HGTV. The six-episode first season was announced in April 2014, as the first cable television series executive produced by talk show host Ellen DeGeneres. In June 2015, HGTV renewed the series for a second season, that premiered on January 18, 2016; the competition series features six furniture designers competing together by showing their abilities in sketching and building furniture within 24 hours. Contestants must demonstrate their creativity and versatility in order to impress a panel of judges after each task they do. HGTV handymen and television personalities Jeff Devlin, Brooks Utley, Karl Champley, Chip Wade, David Sheinkopf and Matt Muenster are the team of carpenters that help the contestants. Jay Montepare is the host of the show while Dwell editor-in-chief Amanda Dameron and Christiane Lemieux, executive creative director at Wayfair, are the judges. DeGeneres makes numerous "appearances" throughout the show.
Six contestants of the first season included Jose Gaspar de Jesus, Katie Stout, Tim McClellan, Carly Eisenberg, Mark Moskovitz and Leslie Shapiro Joyal. Katie Stout was declared the winner, awarded the top cash prize of $100,000 and an opportunity to be featured in HGTV Magazine. In June 2015, HGTV renewed Ellen's Design Challenge for a second season, which began airing in January 2016; the second season featured additional competitors and had more episodes, including a 60-minute-long special episode that showed behind-the-scenes moments. The contestants of the second season included Vivian Beer, Bradley Bowers, Julie Browning Bova, Miles Endo, McKenzie Gibson, Kyle Huntoon, Alexis Moran, Sef Pinney, Melissa Rivera Torres, Dave Yale; this designer won the competition due to another contestant's disqualification. This designer finished in second place due to disqualification; the designer was safe. The designer did not win; the designer was not selected as a top bottom entry in an elimination challenge.
The designer was part of a non-elimination bottom two. The designer was one of the bottom entries in an elimination challenge, was the last person to advance; the designer was eliminated from Ellen's Design Challenge. This designer won Ellen's Design Challenge; this designer finished in second place. The designer was safe; the designer did not win. The designer was not selected as a top bottom entry in an elimination challenge; the designer was selected to advance on to the final 8. The designer was one of the bottom entries in an elimination challenge, was the last person to advance; the designer was part of a non-elimination bottom two. The designer was at risk of not advancing to the final 8; the designer was eliminated from Ellen's Design Challenge. The designer was eliminated from Ellen's Design Challenge; the finale of the first season has sparked some controversy. Katie Stout and Tim McClellan were the two remaining contestants and judges decided to declare McClellan as the winner during the final episode which aired on March 2, 2015.
However, it turned out that the winning piece of furniture was similar to an existing design by European craftsman Simon Schacht. McClellan was disqualified and Stout was named the winner during the taping of The Ellen DeGeneres Show. McClellan appeared on Ellen as well shortly after the controversy and addressed the decision by saying that "the similarities of the two pieces are quite compelling," adding that he agrees to the decision, made and "recognize Katie as the legitimate winner of the show." The controversy has since raised some questions. Designer Superstar Challenge HGTV Design Star Official website Ellen's Design Challenge on IMDb Ellen's Design Challenge at TV Guide