Media Key Terms MEDIA LANGUAGE Refers To; Media Language Elements, Technology, Genre, Media Language Target Audience Technical Codes Intertextuality and Narrative

Total Page:16

File Type:pdf, Size:1020Kb

Media Key Terms MEDIA LANGUAGE Refers To; Media Language Elements, Technology, Genre, Media Language Target Audience Technical Codes Intertextuality and Narrative Media Language Media Key Terms MEDIA LANGUAGE Refers to; media language elements, technology, genre, Media Language Target audience Technical Codes intertextuality and narrative. The way in which a text is a particular group at which a Technical codes are all the ways MEDIA REPRESENTATION constructed to create meaning. product is aimed at. e.g. a film. in which equipment is used to Mediation, stereotypes, inequality in representation, themes and tell the story in a media text, for ideologies, representation and context and audience. example the camera work in a Codes Conventions film. Systems of signs which create The generally accepted ways of MEDIA INDUSTRIES meaning. doing something. Symbolic Codes Media producers, ownership and control, convergence, funding, industries and audiences, media regulation, target audience, Show what is beneath the technology, active audiences, uses and gratification, changing surface of what we see. For audience responses Denote Connote example, a character's Its literal meaning. e.g. a To suggest a connection. e.g. actions show you how the Social How media products heart is an organ in the a red heart connotes love. character is feeling. reflect the society in body. which they are produced and that of Uses and gratifications theory their target audience. Is an approach to understanding why and how people actively seek MEDIA TEXT out specific media to satisfy specific needs. Refers to any product Cultural How media products ESCAPISM reflect the arts and How users deliberately choose media that will satisfy given needs To seek distraction and relief culture, including such as: enhancing knowledge, relaxation, social interactions from unpleasant realities CONTEXTS popular culture, of their time. • Inform and educate/Surveillance Using the media to find out what is going on around us. Niche Market Intertextuality - When a text For example, reading a music magazine which tells the A small, makes deliberate references to Historical How media products audience what has been going on in the lives of celebrities specialised other media texts reflect historical events • Entertainment market for a and social changes. Viewers watch programmes for enjoyment. = particular • Personal Identity product or Political Hoe media products Viewers can recognise a person, role models that reflect service. reflect political similar values to themselves and mimic or copy some of viewpoints, messages, their characteristics Mass Market values and beliefs • Social Interaction The market Introducing the key concepts IDEOLOGY the ability for media products to produce a topic of for goods • Representation A system of ideas and ideals. Usually conversation between people. that are • Audiences referring to economic or political produced in • Institutions theory. large • Language STEREOTYPE quantities • Ideology a widely held but fixed and • Narrative oversimplified image or idea of a Genre is a style or category of art, music, or literature • Genre particular type of person or thing. Music Magazine Music magazine comparisons MOJO magazine REPRESENTATION - MOJO wishes to attract a target audience that shares its reverence for ‘classic rock’. MOJO’s anti-stereotypical positive representation of older people as popular musicians. The magazine represents white male musicians . CIRCULATION - Magazines receive revenue from circulation, advertising, sponsored content and product placement and events. The print magazine industry is suffering from falling advertising revenues and falling circulations as many of their audience go online. Bauer Media Group is a European- based media company, headquartered in Hamburg, Germany that manages a portfolio of more than 600 magazines. MOJO readers Class MOJO gains a similar share of middle class and working class readers (MOJO’s pitch to advertisers claims a mostly middle class audience, possibly based on circulation, but the National Readership Survey readership figures suggest otherwise). Media MOJO Connotation We Love Pop Connotation language Gender MOJO is four times more likely to be read by men than by element women Age The readership is adult. Nearly two thirds of the readers are over 35. However, a higher proportion of 15-34 year olds read the magazine compared to the proportion of over 35 year olds. Layout Ordered content Connotes Cluttered Connotes with the cover seriousness layout with excitement lines mostly use of Music magazines aligned and one diagonals and come in a range central image irregular of genres. In the boxes exam you may be asked to Colour Colour palette is Black Colour palette Connotes compare MOJO Scheme mostly limited to background includes neon youthful magazine with a black and white connotes pink and femininity magazine from plus touches of sophistication saturated blue another genre. muted red and and elegance There are a yellow range of music magazines Practical Content Photoshop Workspace : Below is the workspace area for Photoshop PHOTOSHOP is a digital photo editing software created by Adobe. You will find that all Adobe packages follow a similar house style CMYK vs RGB CMYK: Cyan, Magenta, Yellow, and Black are the colours used when images are being printed. Therefore when work is going to be printed make sure it is adjusted to CMYK in the settings. RGB: Red, Green and Blue are the colours used when images are viewed onscreen. There are many features within Photoshop that you will discover. Some examples are shown here. ENHANCING TOOLS If you have a slightly blurry image, use the ‘SHARPEN’ tool to make an image look sharper. Whilst the ‘BLUR’ tool will make your image Types of graphics become blurry. A Layers within Photoshop View tools WHAT IS A BITMAP GRAPHIC? In Photoshop, layers are used to work on individual SELECTION TOOLS When you take a photograph using a digital camera or scan an parts of an image whilst not affecting other parts. They The ‘CLONE’ tool allows you to B image the image shown is bitmap. allow you to modify your image, add text, change copy one area of the layer to Select tools another area of the layer. A bitmap graphic is composed of many tiny parts, colours, put two pictures on the same page, and more without modifying your original photo. called pixels, which are often many different colours. It is The ‘MAGIC WAND’ selects possible to edit each individual pixel. pixels based on tone and colour. Bitmap graphics are often quite large. Photoshop layers are like sheets of stacked acetate. You C When you resize a bitmap graphic, it tends to lose quality. can see through certain parts of a layer to the layer Enhance tools below. The ‘QUICK SELECTION’ is WHAT IS A VECTOR GRAPHIC? somewhat similar to the Magic Vector graphics are created in graphics packages and consist of There are different type of layers within Photoshop, Wand but also looks for similar shapes called objects. Vector graphics are scalable - i.e. when these include: textures in the image. D you resize them, they do not lose quality. ADJUSTMENT LAYER Draw tools This layer allows you to create a transparent layer There are many standard formats for saving bitmaps. where you can make direct changes to your Below are examples of some of the most common files: photograph without making any changes to your original. GIF is a common format for images that appear on Web pages. TEXT LAYER E This allows you to add text to your image. You can Modify tools JPEG is a compression scheme that works well for natural change the font, colour, size and shape of text. scenes such as scanned photographs. DUPLICATE LAYER This layer will create a duplicate copy of whatever layer F PNG format retains many of the advantages of the GIF format you are on. This sharpens the image or layer you are Colour but also compresses files without the loss of data. currently working on. Music Magazine Genre What is meant by target audience Genre is the way in which a text is constructed to create meaning. There are many different A particular group at which a product such as a film or advertisement is aimed at. If there music genres such as Pop, Rock and R&B. isn’t an audience for a media text then it won’t be successful. Media producers define and Conventions categorise their audience through demographic profiles. The generally accepted ways of doing something. For example notice that all three music Age and Gender Music magazines often use a gender profile to attract their magazines feature a masthead at the top and have a three colour-way. audience. They may be read by anyone – but they are specifically targeted towards a specific gender profile. Psychometric A Psychometric Audience Profile defines an audience by how they think and by considering their values, attitudes and lifestyle (VALs). Understanding class and status Below is the NRS Social Grade classification created by the National Readership Survey over 50 years ago. Class and status is important when targeting an audience. MASS MEDIA products that are A Upper Middle Class intended to reach a large B Middle Class audience. C1 Lower Middle Class NICHE MEDIA is designed to C2 Skilled Working Class appeal to very specific audience D Working Class E Those at the lowest level of subsistence CODES are systems of signs which create meaning. Representation Here is an example of singer Rihanna featured on the front cover of two music magazines Technical Codes with different genres. ‘We love pop’ a pop magazine and ‘Vibe’ an R&B magazine. Music Technical codes are all the ways in which equipment is used to tell the story in a media magazines follow particular codes and conventions not matter the magazine genre. text, for example, ‘We Love Pop’ using lots of images and layers to create a collage, which is something many young females would do. Target Symbolic Codes Audience Show what is beneath the surface of what we see.
Recommended publications
  • Broadcast Bulletin Issue Number 228 22/04/13
    Ofcom Broadcast Bulletin Issue number 228 22 April 2013 1 Ofcom Broadcast Bulletin, Issue 228 22 April 2013 Contents Introduction 4 Standards cases In Breach Retention and production of recordings My Channel, 24 December 2012, 04:00 5 Cancer: Forbidden Cures Showcase 2, 8 May 2012, 19:00 8 The Alan Titchmarsh Show ITV, 14 February 2013, 15:00 31 Advertising Scheduling cases In Breach Breach findings table Code on the Scheduling of Television Advertising compliance reports 37 Fairness and Privacy cases Not Upheld Complaint by Mrs Karen Peaston Obese: A Year to Save My Life, Sky1 HD, 30 January 2012 and repeat broadcasts until 13 May 2012 38 Complaint by Miss Karen Richardson EastEnders, BBC 1, 25 December 2012 46 Other Programmes Not in Breach 49 Complaints Assessed, Not Investigated 50 Investigations List 56 2 Ofcom Broadcast Bulletin, Issue 228 22 April 2013 Introduction Under the Communications Act 2003 (“the Act”), Ofcom has a duty to set standards for broadcast content as appear to it best calculated to secure the standards objectives1. Ofcom must include these standards in a code or codes. These are listed below. Ofcom also has a duty to secure that every provider of a notifiable On Demand Programme Services (“ODPS”) complies with certain standards requirements as set out in the Act2. The Broadcast Bulletin reports on the outcome of investigations into alleged breaches of those Ofcom codes below, as well as licence conditions with which broadcasters regulated by Ofcom are required to comply. We also report on the outcome of ODPS sanctions referrals made by ATVOD and the ASA on the basis of their rules and guidance for ODPS.
    [Show full text]
  • Dinosaurs and Donkeys: British Tabloid Newspapers
    DINOSAURS AND DONKEYS: BRITISH TABLOID NEWSPAPERS AND TRADE UNIONS, 2002-2010 By RYAN JAMES THOMAS A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY WASHINGTON STATE UNIVERSITY The Edward R. Murrow College of Communication MAY 2012 © Copyright by RYAN JAMES THOMAS, 2012 All rights reserved © Copyright by RYAN JAMES THOMAS, 2012 All Rights Reserved To the Faculty of Washington State University: The members of the Committee appointed to examine the dissertation of RYAN JAMES THOMAS find it satisfactory and recommend that it be accepted. __________________________________________ Elizabeth Blanks Hindman, Ph.D., Chair __________________________________________ Douglas Blanks Hindman, Ph.D. __________________________________________ Michael Salvador, Ph.D. ii ACKNOWLEDGEMENTS This dissertation, not to mention my doctoral degree, would not be possible with the support and guidance of my chair, Dr. Elizabeth Blanks Hindman. Her thoughtful and thorough feedback has been invaluable. Furthermore, as both my MA and doctoral advisor, she has been a model of what a mentor and educator should be and I am indebted to her for my development as a scholar. I am also grateful for the support of my committee, Dr. Douglas Blanks Hindman and Dr. Michael Salvador, who have provided challenging and insightful feedback both for this dissertation and throughout my doctoral program. I have also had the privilege of working with several outstanding faculty members (past and present) at The Edward R. Murrow College of Communication, and would like to acknowledge Dr. Jeff Peterson, Dr. Mary Meares, Professor Roberta Kelly, Dr. Susan Dente Ross, Dr. Paul Mark Wadleigh, Dr. Prabu David, and Dr.
    [Show full text]
  • Anne Karpf/The Sound of Home? Some Thoughts on How the Radio Voice Anchors, Contains and Sometimes Pierces (Pre-Print Version; Published in The
    1 Anne Karpf/The sound of home? Some thoughts on how the radio voice anchors, contains and sometimes pierces (pre-print version; published in The Radio Journal, vol.11, no.1, April 2013, pp.59-73) Abstract This article argues that while psychoanalytic theory has been valuably employed by television, film and cultural studies, there has been no comparable 'psychoanalytic turn' in radio studies. It suggests that the concept of 'containment', as developed variously by Wilfred Bion and Esther Bick, might go some way to explain the powerful role that the voice of the radio presenter can play in the regular listener's internal world, with the capacity both to 'hold' the listener together, and to transform overwhelming fears into more manageable feelings. It argues that the disembodied radio voice does this partly because it recalls the prenatal power of the maternal voice, and partly through the temporal order that regular radio voices impose on the internal and external world. Both Second World War British radio catchphrases and Roosevelt's Fireside Chats are discussed in relation to their containment function. The article also explores the radio as a transitional space, as defined by Donald Winnicott, through which it can constitute listeners into an 'imagined community'. It ends by reflecting on the impact of the angry voice of 2 the 'shock-jock' which, it suggests, amplifies rather than contains overwhelming feelings.1 Contributor's details Anne Karpf is Reader in Professional Writing and Cultural Inquiry at London Metropolitan University. A journalist, broadcaster and radio critic of The Guardian for seven years, her books include 'The Human Voice' (Bloomsbury, 2006; Ehrenwirth, 2007; Autrement, 2008; Soshisha, 2008).
    [Show full text]
  • Media Nations 2019
    Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube.
    [Show full text]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Political Reactions to Changes in Local Economic Policies Permalink https://escholarship.org/uc/item/0679c5mm Author Fukumoto, Makoto Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Political Reactions to Changes in Local Economic Policies By Makoto Fukumoto A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Political Science in the Graduate Division of the University of California. Berkeley Committee in Charge: Professor Paul Pierson, Co-Chair Professor Sarah Anzia, Co-Chair Professor Ernesto Dal B`o Professor Alison Post Professor Frederico Finan Spring 2021 Abstract Political Reactions to Changes in Local Economic Policies by Makoto Fukumoto Doctor in Philosophy in Political Science University of California. Berkeley Professor Paul Pierson, Co-Chair Professor Sarah Anzia, Co-Chair Against the backdrop of accelerating economic divergence across different regions in advanced economies, political scientists are increasingly interested in its implication on political behavior and public opinion. This dissertation presents three papers that show how local-level implementation of policies and local economic circumstances affect voters' behavior. The first paper, titled \Biting the Hands that Feed Them? Place-Based Policies and Decline of Local Support", analyzed if place-based policies such as infrastructure projects and business support can garner political support in the area, using the EU funding data in the UK. Contrary to conventional wisdom, the findings suggest that relatively educated, well-off voters who pay attention to local affairs turn against the government that provides such programs and become more interested in the budgeting process.
    [Show full text]
  • The Cultural Politics of Climate Change Discourse in UK Tabloids
    Author's personal copy Political Geography 27 (2008) 549e569 www.elsevier.com/locate/polgeo The cultural politics of climate change discourse in UK tabloids Maxwell T. Boykoff* James Martin Research Fellow, Environmental Change Institute, University of Oxford, South Parks Road, Oxford, OX1 3QY, UK Abstract In the United Kingdom (UK), daily circulation figures for tabloid newspapers are as much as ten times higher than broadsheet sources. Nonetheless, studies of media representations of climate change in the UK to date have focused on broadsheet newspapers. Moreover, readership patterns correlate with socio-eco- nomic status; the majority of readers of tabloids are in ‘working class’ demographics. With a growing need to engage wider constituencies in awareness and potential behavioral change, it is important to ex- amine how these influential sources represent climate change for a heretofore understudied segment of citizenry. This paper links political geographies with cultural issues of identity and discourse, through claims and frames on climate change in four daily ‘working class’ tabloid newspapers in UK e The Sun (and News of the World ), Daily Mail (and Mail on Sunday), the Daily Express (and Sunday Express), and the Mirror (and Sunday Mirror). Through triangulated Critical Discourse Analysis, investigations of framing and semi-structured interviews, this project examines representations of climate change in these newspapers from 2000 through 2006. Data show that news articles on climate change were predominantly framed through weather events, charismatic megafauna and the movements of political actors and rhetoric, while few stories focused on climate justice and risk. In addition, headlines with tones of fear, misery and doom were most prevalent.
    [Show full text]
  • Front of House Master Song List
    CURRENT ROTATION CONTEMPORARY DANCE Love on Top – Beyoncé 24K Magic – Bruno Mars Moves Like Jagger – Maroon 5 All About That Bass – Meghan Trainor Mr. Saxobeat – Alexandra Stan All of Me – John Legend No One – Alicia Keys American Boy – Estelle & Kanye West OMG – Usher Applause – Lady Gaga One Kiss – Calvin Harris, Dua Lipa Bang Bang – Jessie J, Ariana Grande, Nicki Minaj Only Girl (in the World) – Rihanna Blurred Lines – Robin Thicke On the Floor – Jennifer Lopez Boom Clap – Charlie XCX Party In The USA – Miley Cyrus Born This Way – Lady Gaga Party Rock Anthem – LMFAO Break Free – Ariana Grande Perm – Bruno Mars California Gurls – Katy Perry Poker Face – Lady Gaga Cake By The Ocean – DNCE Raise Your Glass – Pink Call Me Maybe – Carly Rae Jepsen Rather Be – Clean Bandit ft. Jess Glynn Can’t Feel My Face – The Weeknd Roar – Katy Perry Can’t Hold Us – Macklemore & Ryan Lewis Rock Your Body – Justin Timberlake Can’t Stop The Feeling – Justin Timberlake Rolling in the Deep – Adele Cheap Thrills – Sia Safe and Sound – Capital Cities Cheerleader – OMI Sexy Back – Justin Timberlake Closer – Chainsmokers ft. Halsey Shake It Off – Taylor Swift Club Can’t Handle Me – Flo Rida Shape of You – Ed Sheeran Confident – Demi Lovato Shut Up and Dance With Me – Walk the Moon Counting Stars – OneRepublic Single Ladies – Beyoncé Crazy – Gnarls Barkley Sugar – Maroon 5 Crazy In Love / Funk Medley – Beyoncé, others Suit & Tie – Justin Timberlake Despacito – Luis Fonsi ft. Justin Bieber Take Back the Night – Justin Timberlake DJ Got Us Falling in Love Again – Usher That’s What I Like – Bruno Mars Don’t Stop the Music – Rihanna There’s Nothing Holding Me Back – Shawn Mendez Domino – Jessie J This Is What You Came For – Calvin Harris ft.
    [Show full text]
  • Challenging Collections
    Insights and Experiments Interview with Thomas Söderqvist Söderqvist, Thomas Published in: Challenging Collections DOI: 10.5479/si.9781944466121 Publication date: 2017 Document version Publisher's PDF, also known as Version of record Document license: Unspecified Citation for published version (APA): Söderqvist, T. (2017). Insights and Experiments: Interview with Thomas Söderqvist. In A. Boyle, & J-G. Hagmann (Eds.), Challenging Collections: Approaches to the Heritage of Recent Science and Technology (pp. 228-231). Smithsonian Institution Scholarly Press. Artefacts: Studies in the History of Science and Technology Vol. 11 https://doi.org/10.5479/si.9781944466121 Download date: 28. Sep. 2021 https:// Boyle and Hagmann artefacts science and technology of studies in the history Volume 11 Managing Editor Martin Collins, Smithsonian Institution Series Editors Robert Bud, Science Museum, London Bernard Finn, Smithsonian Institution Helmuth Trischler, Deutsches Museum his most recent volume in the Artefacts series, Challenging Collections: Ap- Challenging Collections Tproaches to the Heritage of Recent Science and Technology, focuses on the question of collecting post–World War II scientific and technological heritage in museums, and the challenging issue of how such artifacts can be displayed and interpreted for diverse publics. In addition to examples of practice, editors Alison Boyle and Johannes-Geert Hagmann have invited prominent historians and cura- tors to reflect on the nature of recent scientific and technological heritage, and to challenge the role of museum collections in the twenty-first century. Challenging Collections will certainly be part of an ever-evolving dialogue among communities of collectors and scholars seeking to keep pace with the changing landscapes of sci- ence and technology, museology, and historiography.
    [Show full text]
  • Sample Song List: 1. Uptown Funk
    Sample Song List: 1. Uptown Funk - Bruno Mars 2. Live Louder - Nathaniel 3. All About that Bass - Megan Trainor 4. Break Free - Ariana Grande 5. 4, 5 Seconds - Rihanna 6. Locked out of Heaven - Bruno Mars 7. Ghost - Ella Henderson 8. Shake it off - Taylor Swift 9. Trouble - Iggy Azelia 10. Love on Top - Beyonce 11. Happy - Pharell Williams 12. Get Lucky - Daft Punk 13. Highway to Hell - ACDC 14. Shook me all night long - ACDC 15. I Love Rock & Roll - Joan Jett 16. Are you Gonna be my Girl - Jet 17. Blister in the Sun - Violent Femmes 18. April Sun in Cuba - Dragon 19. Better - Screaming Jets 20. (Am I Ever Gonna) See your Face Again - Angels 21. Rain - Dragon 22. Run to Paradise - Choir Boys 23. Teenage Dirtbag - Wheetus 24. Domino - Jessie J 25. Bad Romance - Lady Gaga 26. Summer of '69 - Bryan Adams 27. Sunday Morning - No Doubt 28. Only Girl in the World - Rihanna 29. What's Up - 4 non Blondes 30. Living on a Prayer - Bon Jovi 31. Bed of Roses - Bon Jovi 32. Walking on Sunshine - Katrina and the Waves 33. Groove is in the Heart - Dee Lite 34. Like a Prayer - Madonna 35. Forget You - Cee Lo Green 36. Zombie - Cranberries 37. Boys of Summer - (DJ Sammy Version) 38. Call me Maybe - Carly Rae Jepsen 39. Wake me up - Avici 40. Sex on Fire - Kings of Leon 41. Funky Music - Wild Cherry 42. Superstition - Stevie Wonder 43. Signed Sealed Delivered - Stevie Wonder 44. Billie Jean - Michael Jackson 45. All the Small Things - Blink 182 46.
    [Show full text]
  • The Radio 1 Breakfast Show with Nick Grimshaw Industries
    AS and A LEVEL MEDIA STUDIES Factsheet Industries and audiences factsheet: The Radio 1 Breakfast Show with Nick Grimshaw Industries Production and distribution • The Radio 1 Breakfast Show with Nick Grimshaw is broadcast weekdays from 06.30-10.00 am. • The Breakfast Show has been running since 1967, but Nick Grimshaw took over as the 15th presenter in 2012. • BBC Radio 1 is broadcast on FM, DAB, Freeview, Freesat, Virgin, Sky, or online via BBC Radio Player (including via the phone or tablet app) where it can be heard live or streamed for 30 days. • It is produced by the BBC from its own studios at Broadcasting House in London. • There’s a useful BBC Academy podcast (with transcript) about how the programme is produced http://www.bbc. co.uk/academy/articles/art20170619095219011 • You can also hear what one of the producers (Fiona Hanlon) thinks when she talks about what it’s like to work on the programme: https://www.shu.ac.uk/learn-more/radio-1- breakfast-show • The music is largely playlisted – what is going to be played on daytime Radio 1 is decided by a committee; they choose around 40 records each week for repeated daytime play (A-list records get 25 plays a week, B-list 15, and C-list eight to 10). It’s explained here: http://www.bbc.co.uk/ programmes/articles/SYYQz3WNpBJFs6MrRcs0B5/how-do-i- get-my-music-played-on-radio-1 . Choices are partly guided by what’s already popular with young people online; many older artists are not included as the network is trying to keep an under-30 audience.
    [Show full text]
  • The Last Horizons of Roman Gaul: Communication, Community, and Power at the End of Antiquity
    The Last Horizons of Roman Gaul: Communication, Community, and Power at the End of Antiquity The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Wilkinson, Ryan Hayes. 2015. The Last Horizons of Roman Gaul: Communication, Community, and Power at the End of Antiquity. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467211 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Last Horizons of Roman Gaul: Communication, Community, and Power at the End of Antiquity A dissertation presented by Ryan Hayes Wilkinson to The Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History Harvard University Cambridge, Massachusetts May 2015 © 2015 Ryan Hayes Wilkinson All rights reserved. Dissertation Advisor: Professor Michael McCormick Ryan Hayes Wilkinson The Last Horizons of Roman Gaul: Communication, Community, and Power at the End of Antiquity Abstract In the fifth and sixth centuries CE, the Roman Empire fragmented, along with its network of political, cultural, and socio-economic connections. How did that network’s collapse reshape the social and mental horizons of communities in one part of the Roman world, now eastern France? Did new political frontiers between barbarian kingdoms redirect those communities’ external connections, and if so, how? To address these questions, this dissertation focuses on the cities of two Gallo-Roman tribal groups.
    [Show full text]
  • Encore Songlist
    west coast music Encore Please find attached the Encore Band song list for your review. SPECIAL DANCES for Weddings: Please note that we will need to have your special dance requests, (I.E. First Dance, F/D Dance, etc) FOUR WEEKS prior to your event so that we can confirm the band will be able to perform the song(s) and so that we have time to locate sheet music and audio of the song(s). In some cases where sheet music is not available or an arrangement for the full band is needed, this gives us time to properly prepare the music. Clients are not obligated to submit a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and/or avoided. If you desire the highest degree of control (asking the band to only play within the margin of songs requested), we would ask for a minimum 80 requests from the band’s songlist. Please feel free to call us at the office should you have any questions. – West Coast Music SONGLIST: At Last – Etta James 1,2,3,4 – Plain White T’s Baby Got Back – Sir Mix A Lot 24K Magic – Bruno Mars Back at One – Boyz II Men A Thousand Years – Christina Bad Day – Daniel Powter Perri Ballad Of John & Yoko Ain’t too Proud to Beg – Bamboleo – Gipsy Kings Temptations Bang my Head – David Guetta/Sia Adventure of a Lifetime – Beast of Burden – Rolling Stones Coldplay Beautiful Day – U2 After All – Peter Cetera/Cher
    [Show full text]