DOCSLIB.ORG

Dorr, Aie; and Others Young Childw (Ages 5 to 12,Years), Andto Obt4n

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dorr, Aie; and Others Young Childw (Ages 5 to 12,Years), Andto Obt4n DOCUMENT RESUME ED 216 796 PS 012 883 , AUTHOR, Dorr, Aie;me And Others . , , TITLE An Evaluation of NBC's 1980.81 Prosocial Children's . _ , Programming:.Drawing Power, Play Alongs, How to Watch TV. .. _INSTITUTION University of Southern california,J\ Los Angeles. Annenberg School of Communications. 'PUB DATE '13 May 81. NOTE 394p.' EDRS PRICE 2401/PC1 s Postage. DESCRIPXORS----- e Differences; *Childhood Attitudes; Children; *Childrens Television; Commercial Television; Consumer Education; *Instructkonal Materials; Intei-views; *Learning Activities; Pilot Projects; P?ogram Evaluation; *Progrithing (Broadcast); Questionnaires; Televition Research; *Television Viewing 'IDENTIFIERS National Broadcasting Company ABSTRACT Reported in this document are findings from an evaluation,of three kinds of'prosocial children's programming broadcasted by the NBC network.during.th 1980-81 season. The prosocial programmings evaluated were "Drawing Power," "Play Alongs," and 'How to Watch TV". The primary goals of the study, as stated by NBC,. were to evauate the appeal and impact of these programmings on young childw (ages 5 to 12,years), andto obt4n additional ideas About' prosocial programming for.the 1981-82 season. Following a brief intr4ductory overview of.the study, sections II, III, and IV present the results obtained for each of the above programmings. Each section begins by describing the pros6cial prog?amffiing being evaluated and the particular appeal,Pand impact of the programming addressed. This is.folloWed by a descriptioq of the method used, a presentation °of the.results, and a short summary. Section V of the report describes p4ot'research, conducted by the secopd author as a pilot'Ntudy.for her doctoral dissertation,*on how children think ana feel about prosocialprogramping. The reportends with a brief general ' discussion .of this studlos findings and their,importance for network Saturday Inorning.prosocial programming. Copies of the various instruments used to collect dpta are'included in appendices A'to N. (MP) )0:0 kb: , **A4****************************-*************************************** Reproductions supplied by EDRS are the best that can be made from the original document. .******Apc***********************************************i************ 111 U S. DEPARTMENT OF EDUCATION NATIONAL INSTITUTE OF EDUCATION EDUCATIONAL RESOURCES INFORMATION. CENTER IERICI Ths document has been reprqduced as received from tht person or ' organi;ation originating it %Minor changes have been made to improve reproduction cptality Points of view orbpinions stated in this docu rent do not neCeSsanly represent official NfE posit."' or poky VA AN EVALUATION OF NBC'S 1980-81 PROSOCIAL CHILDREN'S PROGRAMMING:, DRAWING POWER PLAY ALONGS HOW TO WATCH TV A Submitted By Aimge Dorr, Catherine Doubleday, Peter-Kovaric, and Dale Kunkel Annenberg'School of Communications University of Southern California' "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED HY ko \ mQe, Dori May 13, 1981 TO THE EDUCATIONAL RESOURCES INFORMATION CENTER(ERIC)" I- 9 19: ti p ( ta. //- ACKNOWLEDGEMENTS Our research has been aided and abetted by many people. At NBC, Horst Stippwas always there to provide inforMatibn and guidance. Phyllis Tucker Vinson always answered questions, asked provocative ones herself; and, generously provided-help by her staff when necessary. Sam Ewing oversaw the taping of Drawing Power and Flintstones CoMedy Show episodes and sent us format information aboUt the Flintstones. Rebecca Weinstein related messages and materiel. Obviously, our work would have been more difficult without all this assistance. At the Annenberg School we were fortunate to obtain-constant_and -cheerful service from many people. Steve Brecht, Bill Darst, and Karen Stewart all helped arrange equipment, tape programming off,the air, and copy tapes.Carolyn Spicer also helped equipment in one or two emergencies. Robert Wang,:guided us through the financial bureaucracy maze at USC.- Janice Dorr, Kim Lakoduk, Amy Phillips, Larry Podell, Claudia Puig, and Homa Sardhar all served as able and dependable, research assistants. Finally, Agnes Uy served unstintingly with great competence and good humor as typist, copyist, collater, organizer, and everything else.Research would ne3erhave been conducted and a final report never transmitted to NBC without the contributions of all these people. Lastly, we most gratefully recognize the willing assistance provided by so many children, siblings, parents, parent surrogates, principals, directors, teichers,.afterschoolcare staff, secretaries, and custodians. Their participation made it possible to recruit participants, to find space in which to conduct the research itself, and/or to have data to analyze.0 9 6 We obviOusly cannot name,everyone who helped us in these ways, but we would like to acknowledge the directors, principals, and head teachers of the several places in which we conducted the research and /or from which we recruited research participants: Georgette Alling, Bertram Ashe, Mark thou, Arlene Glassner:Margaret Jones, and Marx Stilwell. Without them we could notalave gotten even to first base in the evaluations. 0 TABLE OF CONTENTS Acknowledgments ii JL . r .List of Tables viii List of-FigUres xiii Executive Summary xiv a I. Introduction 1. II. Drawing Power *5 Method 7 Participants 7 Procedures 10 Stimuli 14 a Instruments 16 Results 18 Appeal 18 18 - Appeal of the series . OC Appeal of the segments 25 Appeal af the format 27 Impact. 31 Learning.cofttent 31't New content 41 \, Where ideas presented . ... , . 43 , .Aaceptance of ideas ....... .. 46 Who ideas pod for 51- 57 Children's Suggested Improvements tbe 1110 Conclusions 510 r Play 'Alongs 69 Method 71 Participants Procedures 75 4 Stimuli 79 I ` Instruments 7"9 Data Reduction r 81 .83 Results . .. ..... , Appeal Loss of attention 84 Switching the channel 89 Attracting attention 9 9 Attention to 'each Play Along 93 Liking types of programming 'Liking of each Play Along . 99 Responses while viewing 102 Summary 107 Impact .. 107 Participation while viewing . .,. Recall . :8.. 109 Participation while not viewing . ;110: Interest in future participation . : 115 Summary . 117 ... Effects of Viewing Frequency and Parental OpiniOn - 120 , ,Viewing frequency and appeal . ]21 128 1 Viewing, frequency and impact Observer opinioris 128 Observer opinion and appeal.... 131 ; ,. Observer opinion and impact 134 Sumiary 136 , Problems and,Improvements 136 . Pace- .137 Availability of Materials, :141 Distinguishable as program elements . 143 Observer evaluations and 'suggested improvements .. 148 Summary 150 'COnclubions 153 1 n. EV. How to Watch TV 163 , . I . Method . ,. 164 . , Participants 165 \ PracedureS ' 165 Stimuli 166 Instruments 167 Results 168 Recall 168 Recognition of Main Points 175 Evaluations of the Drop-In's Messages . 177 Application of the Drop-In's Messages,. 178 Conclusions 182 V. ,How Children Think and' Feel Abott4Prosocial Programming: A Pilot Study .184 Method 485 A Results '187 Concepts of Prosocial Programming 187 Learning From and EmotionalResponses to Family Shows and Children'sSpecials . 201 Learning From and EmotionalResponses to Short:Segments in ProsocialShows 217 Conclusions 't 227 VI. Implications for Prosocial programming . r . 33 ReferenOes 241 . e Footnotes 1 242 a , AppendiCes A. Pdtticipant Recruitment Drawing Power r 1 and How to Watch TV 245 B. Segments Comprising Drawing Power, How to Watch TV, and Fat Albert Tapes ; 229 C. Researcher's Text and Child's Responses Sheet for Day 4Questionnaire Abt Drawing Power and How to Watch TV 251 D. Researche'r's Texts dnd Child's Responses for Day 5 Questionnaire About Drawing Power and, How to Watch TV 259 E. Researcher's_Text.for Day 4 Interview About Drawing Power and How to Watci TV 284 F. Researcher's Text for Day 5 Interview About Drdwing Power r 286 C. Participant Aecruitment for Play Alongs 291- H. Observer Information for Home Observations of Children's Viewing of Play Along6 . 295 I 1. -I. <Activity Sh t Used by Family Observers for , Florae Obse ation of Children's V4wing of Play Along& 302 T. Children's Questionnaire About Play Alongs t Administered by Observers 313 - . K. Observer's Self-Administered QuestiOnnaireAbout Play Alongs 325 L. Coding System for Play Along Activity Sheets . '330 M. CothTents from Family Observers about Play Alongs-. 340 N. Researcher's Questionnaire for Pilot Study About, How Children.Think4and Feel About Prosocial Programming . 355 r t vii 1 a LIST OF TABLES 7 Page 11-'1 Drawing Power Sample 8 A II- 2 Drawing Power Episodes Viewed and Tested 15. '11- 3 Rated Appaal of Drawing Power 19 a.1- 4 Appeal ok Drawing Power Compared to Other Program 21 IF: 5 .Estimated Appeal of.Drawing Power for Other Children 23 II- 6 Rated Appeal of Drawing Power Segments 2.6 II- 7 Appeal of Drawing Power's Characteristics 28 . x II- 81: RecOgnition of Megsages,lniDrawing Power Segments . 33 II- 9 Rec4.1 bf Drawing Power Messages Two Days After Viewing It . 35 II-10: Recall of Mesgageg from Drawing'Power Segments Two Days After Viewing It 41- II7-11 Recall of Drawing Power" Messages Right After Viewing It . 39 11-12 Recall of Messages from Drawing Power Segments RightlAfter Viewing It 11-13 New Ideas ReportedLearned from Drawing Power -42 11,14 .Sample of New Ideas Reported Learned from Drawing .Power. .. ..44 11-15 Perceived SoUrceg of Ideas (Measured by Multiple Choice" Item=in Questionnaire) s . 45 4 4 11 -16 Perceived SOurces of Ideas (Measured by Open- and Closed-. Ended Items in
Load more

Recommended publications
  • Here Comes Television
    September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business.
    [Show full text]
  • Kiionize Geparunant Charges; Dr
    'V'V, 1*. v if MONDAY, MARCH 21, 194t gpgtttng ijeraUi The Weather Average Dally N at’Fraaa Run FuraaaiM at U. 8. Haathar Buiaus Wm lb s Mm Ui oI Fabmuy. Ift* ahip o f J e m la that H glvoa man morning ineludod tho- nnthema f f,ip*thiwg to live op to,” Bav. Bfl- “Ood So Loved the Wortd" by Cloudy and vary warm this aft- Mrs. Major BlaseU of Stresses Need arannn; eccasloaal rala tonight, wlU be the special "P^okm *t ^ To Be Director gar continnad. * Moore and *T^rd Moat Holy” by 9,713 amllng Wadnrwlay mornlag aad 'jlljboulTo^ Friendship Circle of the Salvation m w maponalMlity la oura. Th to Roaaini sung by the South Ckurch Btambar o l «ko ^ n iM fnliowad by clrariai. Arm y tonight at 7:30 p.m. love thht Jeaua glvea to othom choir and the organ prelude "Ada­ For Friendship mfleets through their Uvea. Jeaua Baraaa a< OrmdaMaoa ^ ^T M n to a POMlbUtty that tht gio” (SonaU No. 8) by Haydn Manchester-^4 City of Village Charm "Tredowata,” a Polish movie, still glvea ua thla challenge today and the poatlude “Cantablle” (So­ ilfi^ m eompattUra to Uvo.up to the bbat that U In ua. iM n S tha aaoetln# ot WlU be shown this Sunday after­ naU No. 8) by Haydn played by noon at 3 o’clock In W hlU B ^ le Rev.’Edgar Preaches the Chapter, Order o( DeMo- "Jeaua aleo gave people aotne- Oeorge G.* Ashton, organist ot the AivtrM M ag an Fags 18) MANiCHESTER, CONN., TUESDAY, MARCH 22,1949 (FULItlELN FACES) FUICE FOUR CENTS ■-f^ tly.
    [Show full text]
  • In This Episode of the Flintstones, the Main Characters Are Shown to Seek Martial Arts Lessons
    In this episode of the Flintstones, the main characters are shown to seek martial arts lessons. The judo master in the scene is depicted as a Japanese man who wears a sinister-looking smile throughout the scene. He offers the characters lessons at supposedly good prices. As he rattles off the offers by ensuring them that they could get "silver medal lessons" for "[a] big bargain, big bargain" and "for a few more measly dollars ... gold medals, diamond medals...," his pronunciations are exaggeratedly shown to be wrong by a mix up between r's and l's and by an obvious difference in the emphasis on syllables. The man's speech is set apart from the other characters' by juxtaposing his differently accented words to the others' SAE pronunciation. Also, the Flintstones and their friends bowed while imitating his accent as if attempting to fit that man's mannerisms. However, this can be seen as making light of the man's characteristics and manners as if they are silly. In this scene, the judo master portrays prevalent stereotypes about Asians. The man's inability to enunciate r's and l's reflect the struggle that many people face in differentiating between r's and l's in English because their native tongues do not make the same distinction. More importantly, the judo master's speech is used to indicate a lack of intelligence, as evidence by Fred's comment, "What does 'et cetera, et cetera' mean in Japanese? Sucker?" which is followed by Barney's response in a tone mocking the Japanese man's, "Oh, that's for sure!" Furthermore, prior to that, Fred had thrown in an unintelligible word in an attempt to imitate the man's Japanese accent.
    [Show full text]
  • Retrofuture Hauntings on the Jetsons
    City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past.
    [Show full text]
  • The Flintstones (1960-1966), About a “Modern Stone-Age Family,” Was The
    Columbia Pictures) to develop a prime-time animated series. They worked out the concept of parodying current situation comedies, especially The Honeymooners and Father Knows Best, with the twist of setting them in a different historical era. Cartoonists Dan Gordon and Bill Benedict had the idea to use a Stone Age setting (although the Fleischer Studios pro- duced a similar series of Stone Age Cartoons back in 1940). The concept was bought by ABC, and premiered Sept. 30, 1960. Voiced by Alan Reed, Jr. (Fred Flintstone), Mel Blanc (Barney Rubble), Jean VanderPyl (Wilma Flintstone) and veteran actress Bea Benaderet (Betty Rubble), The Flintstones finished the season in the Nielsen ratings’ top 20, and won a number of industry awards, including the Golden Globe, and an [email protected] Emmy nomination for best comedy series of 1960-61. A clear appeal of the series lays in its parody of sitcom for- mula plots, and there are elements of satire in the way modern consumer conveniences are turned into sight gags. One of the show’s favorite gags was to have cameos by Stone Age versions of modern celebrities (Ann Margrock, Stony Curtis, etc.). The most popular gimmick was Wilma’s pregnancy, ending with the February 1963 “birth” of their little girl, Pebbles. The next season the Rubbles adopted Bamm-Bamm, a little boy of incredible strength and a one- word vocabulary. By the fifth and sixth seasons, the show began to use more storylines aimed at kids, with new neighbors the Grue- somes (a spin on The Munsters and The Addams Family), and magical space alien The Great Gazoo (Harvey Korman).
    [Show full text]
  • Teaching the Media with Mouse Woman: Adventures in Imaginative Education
    Teaching the Media with Mouse Woman: Adventures in Imaginative Education by Kymberley Stewart M.A., Simon Fraser University, 2004 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Curriculum Theory & Implementation Program Faculty of Education Kymberley Stewart 2014 SIMON FRASER UNIVERSITY Summer 2014 Approval Name: Kymberley Stewart Degree: Doctor of Philosophy (Education) Title: Teaching the Media with Mouse Woman: Adventures in Imaginative Education Examining Committee: Chair: Allan MacKinnon Associate Professor Mark Fettes Senior Supervisor Associate Professor Kieran Egan Supervisor Professor Michael Ling Supervisor Senior Lecturer Lynn Fels Internal/External Examiner Associate Professor Faculty of Education David Jardine External Examiner Professor Faculty of Education University of Calgary Date Defended: August 20, 2014 ii Partial Copyright Licence iii Ethics Statement iv Abstract Concerns have been expressed for decades over the impact of an increasingly media-saturated environment on young children. Media education, however, occupies a somewhat marginal place in compulsory schooling, and its theorists and practitioners have given relatively little attention to the question of how to teach the media to elementary school children. This question is explored through an auto-ethnography and métissage spanning more than twenty years of media use, media studies, and media education. Three shifts in emphasis are particularly central to the thesis. The first is a shift from a protectionist to a more open, albeit critical stance with respect to children‘s media use. The second is a shift from conceiving of media education in terms of a pre-packaged curriculum towards the co-construction of learning experiences with the students, guided by Egan‘s theory of imaginative education.
    [Show full text]
  • Looking Back at the Creative Process
    IATSE LOCAL 839 MAGAZINE SPRING 2020 ISSUE NO. 9 THE ANIMATION GUILD QUARTERLY SCOOBY-DOO / TESTING PRACTICES LOOKING BACK AT THE CREATIVE PROCESS SPRING 2020 “HAS ALL THE MAKINGS OF A CLASSIC.” TIME OUT NEW YORK “A GAMECHANGER”. INDIEWIRE NETFLIXGUILDS.COM KEYFRAME QUARTERLY MAGAZINE OF THE ANIMATION GUILD, COVER 2 REVISION 1 NETFLIX: KLAUS PUB DATE: 01/30/20 TRIM: 8.5” X 10.875” BLEED: 8.75” X 11.125” ISSUE 09 CONTENTS 12 FRAME X FRAME 42 TRIBUTE 46 FRAME X FRAME Kickstarting a Honoring those personal project who have passed 6 FROM THE 14 AFTER HOURS 44 CALENDAR FEATURES PRESIDENT Introducing The Blanketeers 46 FINAL NOTE 20 EXPANDING THE Remembering 9 EDITOR’S FIBER UNIVERSE Disney, the man NOTE 16 THE LOCAL In Trolls World Tour, Poppy MPI primer, and her crew leave their felted Staff spotlight 11 ART & CRAFT homes to meet troll tribes Tiffany Ford’s from different regions of the color blocks kingdom in an effort to thwart Queen Barb and King Thrash from destroying all the other 28 styles of music. Hitting the road gave the filmmakers an opportunity to invent worlds from the perspective of new fabrics and fibers. 28 HIRING HUMANELY Supervisors and directors in the LA animation industry discuss hiring practices, testing, and the realities of trying to staff a show ethically. 34 ZOINKS! SCOOBY-DOO TURNS 50 20 The original series has been followed by more than a dozen rebooted series and movies, and through it all, artists and animators made sure that “those meddling kids” and a cowardly canine continued to unmask villains.
    [Show full text]
  • Transformers Franchise, and Redefines What It Means to Be a Hero
    Paramount Pictures Presents In Association with Hasbro A Don Murphy/Tom DeSanto / di Bonaventura Pictures / Ian Bryce Production A Michael Bay Film Executive Produced by Steven Spielberg Michael Bay Brian Goldner Mark Vahradian Produced by Lorenzo di Bonaventura, p.g.a. Tom DeSanto Don Murphy Ian Bryce, p.g.a. Story by Akiva Goldsman and Art Marcum & Matt Holloway & Ken Nolan Screenplay by Art Marcum & Matt Holloway & Ken Nolan Directed by Michael Bay Cast: Mark Wahlberg, Josh Duhamel, Anthony Hopkins, Laura Haddock, Jerrod Carmichael, Isabela Moner, Santiago Cabrera Synopsis: The Last Knight shatters the core myths of the Transformers franchise, and redefines what it means to be a hero. Humans and Transformers are at war, Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth. Saving our world falls upon the shoulders of an unlikely alliance: Cade Yeager (Mark Wahlberg); Bumblebee; an English Lord (Anthony Hopkins); and an Oxford Professor (Laura Haddock). There comes a moment in everyone’s life when we are called upon to make a difference. In Transformers: The Last Knight, the hunted will become heroes. Heroes will become villains. Only one world will survive: theirs, or ours. TRANSFORMERS: THE LAST KNIGHT is in theatres [local date], 2017 TRANSFORMERS: THE LAST KNIGHT has been rated [local rating]. ABOUT THE CAST MARK WAHLBERG (“Cade Yeager”) earned both Academy Award® and Golden Globe® nominations for his standout work in the family boxing film The Fighter and Martin Scorsese’s acclaimed drama The Departed.
    [Show full text]
  • November 24, 1986 Deg Rees — >• (Continued from Page 1) Communication Increased, from 166 in 1983-84 to the State Council's Records Show That Private 181 in 1984-85
    *> James Madison University Monday, November 24,1986 Vol. 64 No. 24 Degree drop-off no worry for JMU By Alessandra Griffiths staff writer Officials at JMU are not worried about the recent drop-off in the number of degrees given at state colleges and universities. State Council of Education records show that overall, state institutions awarded fewer degrees in 1984-85 than in the 1983-84 academic year, according to an article in the Richmond Times-Dispatch. Dr. William Jackamcit, director of planning and analysis here, said, "If the gist of the article is that fewer degrees are being given out, that is not the case at JMU." Although the number of degrees awarded here did drop slighUy, from 1,841 in 1983-84 to 1,772 in 1984-85, Jackameit said the drop-off does not reflect a trend. "It looks like, if one looks at the last five years, there has not been a whole lot of variation in the number of degrees," he said. His office reported 1,872 students earned undergraduate degrees last year. The number of degrees given to business majors, including students in accounting, marketing, economics, finance and management, is at an all-time high, said Dr. Robert Holmes, dean of the College of Business. See DEGREES page 2 > Harrisonburg cited as fast-growing city By Maria Osborn news editor _^_^_^__ Harrisonburg is growing, and JMU is a big factor in that growth. ■According to population estimates of the Tayloe Murphy Institute at the University of Virginia, Harrisonburg's population has jumped almost 2,000 in the last five years.
    [Show full text]
  • Are Ers Rave Rain O I"Ea Si Ence Christopher Clancy Staff
    .<) <tii)f ~l THE UNIVERSITY OF IDAHO Q,i Frida, 4 ril 26, 1996 ASUI —Moscow Idaho Volume 97 No. $9 are ers rave rain o i"ea si ence Christopher Clancy Staff sudden spring shower may have damp- ened heads, but certainly did not dampen pirits, as a small group of marchers showed their solidarity in the fight against sexual assault in the Break the Silence rally. The event was the kick-off for the University of Idaho's Sexual Assault Awareness Week sponsored by the Women's Center and the ASUI Safety Task Force. The march, which began at Guy Wicks Field, took marchers on a winding tour of campus, lead by Safety Task Force Chair Angela Rauch and Vice-Chair Rhonda Anderson. "Last year over 119 cases of abuse have been reported to the Women's Center. We need to increase awareness and help victims of these types of violent crimes to gain the courage to . speak out and get help," Anderson said. z'4w" 4. During the march a whistle was blown every 15 seconds, signifying the statistic of one woman battered in the United States every 15 ~A'!. seconds. Similarly, each minute a bell was rung, signifying the rape of one woman. The march ended on the steps of the Administration Building where poetry, written by victims, was read and family members and survivors spoke about loss and hope. The mes- t. sage alw'ays: "Fight back, it's not your fault, get help, you'e not alone" was heard as encourage- ment from the victims and their families.
    [Show full text]
  • The Unlovable Founder of Dogpatch
    DOW JONES, A NEWS CORP COMPANY Nikkei 23275.27 0.11% ▲ Hang Seng 25160.96 0.28% ▼ U.S. 10 Yr 1/32 Yield 0.710% ▲ Crude Oil 42.23 0.02% ▼ Yen 106.94 0.01% ▲ DJIA 27896.72 0.29% ▼ The Wall Street Journal John Kosner English Edition Print Edition Video Podcasts Latest Headlines Home World U.S. Politics Economy Business Tech Markets Opinion Life & Arts Real Estate WSJ. Magazine Search SHARE The Unlovable Founder of Dogpatch FACEBOOK Al Capp's "Li'l Abner" comic strip gave the world dopey Abner and voluptuous Daisy Mae, as well as expressions like "going bananas" and the TWITTER"double-whammy." EMAIL By Edward Kosner Feb. 22, 2013 3:22 pm ET PERMALINK SAVE PRINT TEXT When I was a kid, my randy pals and I were fascinated by the accepted wisdom that Al Capp's "Li'l Abner" comic strip was a trove of pornographic images if you only knew where to look. The idea was that if you clipped the image of a recumbent Daisy Mae from one frame and superimposed on it a sketch of Abner from another, you'd have—well, you get the picture. We never scored, but not for lack of squinting. It turns out that, back in the 1950s, congressional committees actually pored over photostats of Capp strips surreptitiously provided by a resentful rival cartoonist looking for crypto-smut, but they failed to find damning examples. This is but one of the indelicate tales told in Michael Schumacher and Denis Kitchen's "Al Capp: A Life to the Contrary," the first biography of a man who was a pop-cultural comet for four decades but has faded today into a Wikipedia entry.
    [Show full text]
  • Cartoon Shows Brackets.Xlsx
    FAVORITE CHILDREN'S CARTOON SHOWS - VOTING BRACKETS First Round Second Round Sweet Sixteen Elite Eight Final Four Championship Final Four Elite Eight Sweet Sixteen Second Round First Round Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes 1 Jonny Quest 79 122 Looney Tunes 1 Jonny Quest 24 79 Looney Tunes 32 Jabberjaw 37 1 Clutch Cargo 32 Jetsons 71 71 Looney Tunes 16 Jetsons 105 King27 Leonardo & his Short Subjects 16 Jetsons 58 4 Heckle & Jeckle 17 Quick Draw McGraw 18 83 Heckle & Jeckle 17 Jetsons 74 89 Looney Tunes 8 Space Ghost 61 44 GI Joe 8 Space Ghost 47 18 Fat Albert 25 Captain Caveman 51 70 Fat Albert 25 Space Ghost 18 18 Rocky & Bullwinkle 9 Great Grape Ape 69 118 Rocky & Bullwinkle 9 Great Grape Ape 29 63 Rocky & Bullwinkle 24 Perils of Penelope Pitstop 43 2 Roger Ramjet 24 Jetsons 37 63Looney Tunes 5 Herculoids 64 36 Tennessee Tuxedo 5 Herculoids 22 56 Alvin & the Chipmunks 28 Help! It's the Hair Bear Bunch! 48 86 Alvin & the Chipmunks 28 Smurfs 50 45 Alvin & the Chipmunks 12 Smurfs 69 25 Battle of the Planets 12 Smurfs 59 27 Speed Racer 21 Huckleberry Hound 53 85 Speed Racer 21 Smurfs 26 12 Alvin & the Chipmunks 4 Wacky Races 55 38 Voltron 4 Josie & the Pussycats 48 34 Inspector Gadget 29 Josie & the Pussycats 61 82 Inspector Gadget 29 Josie & the Pussycats 36 43 Peabody's Improbable History 13 Top Cat 59 77 Peabody's Improbable History 13 Top Cat 31 48 Peabody's Improbable History 20 Auggie Doggie 58 42 Woody Woodpecker 20 Hanna-Barbera Flintstones Looney Tunes Early TV Networks (to mid
    [Show full text]