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An Ideological Analysis of the Birth of Chinese Indie Music
REPHRASING MAINSTREAM AND ALTERNATIVES: AN IDEOLOGICAL ANALYSIS OF THE BIRTH OF CHINESE INDIE MUSIC Menghan Liu A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill Esther Clinton © 2012 MENGHAN LIU All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis project focuses on the birth and dissemination of Chinese indie music. Who produces indie? What is the ideology behind it? How can they realize their idealistic goals? Who participates in the indie community? What are the relationships among mainstream popular music, rock music and indie music? In this thesis, I study the production, circulation, and reception of Chinese indie music, with special attention paid to class, aesthetics, and the influence of the internet and globalization. Borrowing Stuart Hall’s theory of encoding/decoding, I propose that Chinese indie music production encodes ideologies into music. Pierre Bourdieu has noted that an individual’s preference, namely, tastes, corresponds to the individual’s profession, his/her highest educational degree, and his/her father’s profession. Whether indie audiences are able to decode the ideology correctly and how they decode it can be analyzed through Bourdieu’s taste and distinction theory, especially because Chinese indie music fans tend to come from a community of very distinctive, 20-to-30-year-old petite-bourgeois city dwellers. Overall, the thesis aims to illustrate how indie exists in between the incompatible poles of mainstream Chinese popular music and Chinese rock music, rephrasing mainstream and alternatives by mixing them in itself. -
High-Precision 5Dof Tracking and Visualization of Catheter Placement in External Ventricular Drainage of the Brain Using Augmented Reality
1 High-Precision 5DoF Tracking and Visualization of Catheter Placement in External Ventricular Drainage of the Brain using Augmented Reality XUETONG SUN, University of Maryland College Park, USA SARAH MURTHI, University of Maryland School of Medicine, USA GARY SCHWARTZBAUER, University of Maryland School of Medicine, USA AMITABH VARSHNEY, University of Maryland College Park, USA External ventricular drainage (EVD) is a high-risk medical procedure that involves inserting a catheter inside a patient’s skull, through the brain and into a ventricle, to drain cerebrospinal fluid relieving elevated intracranial pressure. Once the catheter has entered the skull its tip cannot be seen. The neurosurgeon has to imagine its location inside the cranium and direct it towards the ventricle using only anatomic landmarks. The EVD catheter is thin and thus hard to track using infra-red depth sensors. Traditional optical tracking using fiducial or other markers inevitably changes the shape or weight of the medical instrument. We present an augmented reality (AR) system that depicts the catheter for EVD and a new technique to precisely track the catheter inside the skull. Our technique uses a new linear marker detection method that requires minimal changes to the catheter and is well-suited for tracking other thin medical devices that require high-precision tracking. CCS Concepts: • Computing methodologies → Tracking; Mixed / augmented reality. Additional Key Words and Phrases: Augmented reality, 5DoF tracking, external ventricular drain, assisted surgery, catheter placement ACM Reference Format: Xuetong Sun, Sarah Murthi, Gary Schwartzbauer, and Amitabh Varshney. 2019. High-Precision 5DoF Tracking and Visualization of Catheter Placement in External Ventricular Drainage of the Brain using Augmented Reality. -
2019 Official Results Book Marathon • 21-Miler • 11-Miler • 12K • 5K • Relay Table of Contents
2019 OFFICIAL RESULTS BOOK MARATHON • 21-MILER • 11-MILER • 12K • 5K • RELAY TABLE OF CONTENTS 3 To Our Finishers 32 21-Miler Results 4 2019 Race Review 36 11-Miler Results 5 What We Learned From Your Post-Race Survey 43 12K Results 6 2020 Registration Procedures 47 Relay Results 7 Marathon Male Winners 49 5K Results 8 Marathon Female Winners 51 3K Schools’ Competition Results 9 Marathon Overall Results Male 52 Our Sponsors & Supporters 17 Grizzled Vets 53 Race Committee & Staff 18 Marathon Overall Results Female 54 Final Notes and Moments to Remember 28 Boston 2 Big Sur Results 55 Mission Statement Big Sur Marathon Foundation P.O. Box 222620 Carmel, CA 93922 831.625.6226 [email protected] bigsurmarathon.org Cover photo of D’Ann Arthur by Lee Curry 2019 Big Sur International Marathon Results Book l 2 Heather McWhirter To Our Finishers To Our Finishers, We saw you, perhaps a bit sleepy but also very ex- cited, early race morning. We watched you marvel Congratulations on behalf of the Big Sur Marathon when you realized that the dreaded head wind, for Foundation board of directors, events committee, once, didn’t present itself race day. Instead, you volunteers, staff and partners! We hope you had a enjoyed ideal conditions with mild temperatures beautiful experience. and, for once, even a mild tailwind! This event started 34 years ago with the vision of We played music for you, handed you a cup of Ga- William Burleigh to organize a race for 2,000 runners torade or water, or shouted encouragement as you along the 26-mile stretch of Highway 1 from Big Sur charged up or down yet another hill. -
Go with Your Feelings: Hong Kong and Taiwan Popular Culture in Greater China Author(S): Thomas B
Go with Your Feelings: Hong Kong and Taiwan Popular Culture in Greater China Author(s): Thomas B. Gold Reviewed work(s): Source: The China Quarterly, No. 136, Special Issue: Greater China (Dec., 1993), pp. 907-925 Published by: Cambridge University Press on behalf of the School of Oriental and African Studies Stable URL: http://www.jstor.org/stable/655596 . Accessed: 24/04/2012 22:42 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press and School of Oriental and African Studies are collaborating with JSTOR to digitize, preserve and extend access to The China Quarterly. http://www.jstor.org Go With Your Feelings: Hong Kong and Taiwan Popular Culture in Greater China* Thomas B. Gold Thepeople go withthe Communist Party; the CommunistParty goes withthe Central Committee;the CentralCommittee goes withthe Politburo;the Politburogoes with the StandingCommittee; the StandingCommittee goes with Deng Xiaoping;Deng Xiaopinggoes with his feelings(Deng Xiaoping genzhe ganjue zou). Trying to puzzle out the Communist leadership's reaction to the massive demonstrations then under way during the spring of 1989, some Chinese wits turned to "Go With Your Feelings," a well-known song recorded by the Taiwan pop singer Su Rui.' This not only indicated the critical role of one often unpredictable octogenarian, it also revealed the pervasive- ness of popular culture from "peripheralChina" on the mainland core: an allusion to a pop song from Taiwan could be used (and understood) to sum up an extremely volatile situation. -
Unusual Limited 11 August 2017
Company note UnUsUal Limited 11 August 2017 Unrated Powerful Mix of High Growth and High Profitability Current Price S$0.475 ▪ Integrated business provides high operating flexibility. Unusual is a live event production and promotion company with the largest technical Fair Value S$0.625 inventory in Singapore and a wealth of experience in various technical Up / (downside) 31.6% solutions, meaning that most production work is carried out internally. This is a very strong competitive advantage in Singapore as the financial Stock Statistics breakeven for each show will be comparatively lower than that of a less integrated competitor. In turn, Unusual can work with both new and Market cap S$305.5m established artists in technically complex shows to draw both small and large 52-low S$0.400 crowds, while risking less capital and cultivating relationships with artists. 52-high S$0.540 Avg daily vol 1,473,853 ▪ Established track record and lengthy relationships to top artists. Since No of share 643.2m its founding in 1997, Unusual has produced the concerts of artists such as Free float 17.8% Jay Chou and JJ Lin. Due to its track record and relationships in the industry, Unusual can reassure artists of payment of fees, production quality and venue quality and thus convince them to go on tours promoted by it. Key Indicators ▪ Financial war chest to expand pipeline. With net cash of S$17.1m, ROE 17F 34.8% Unusual is now able to monetise its industry networks by engaging more ROA 17F 26.1% artists and for more shows – both in Singapore and regionally. -
Histone Modifications and Cancer
Downloaded from http://cshperspectives.cshlp.org/ on September 27, 2021 - Published by Cold Spring Harbor Laboratory Press Histone Modifications and Cancer James E. Audia1 and Robert M. Campbell2 1Constellation Pharmaceuticals, Cambridge, Massachusetts 02142; 2Eli Lilly and Company, Lilly Corporate Center, Indianapolis, Indiana 46285 Correspondence: [email protected] SUMMARY Histone posttranslational modifications represent a versatile set of epigenetic marks involved not only in dynamic cellular processes, such as transcription and DNA repair, but also in the stable maintenance of repressive chromatin. In this article, we review many of the key and newly identified histone modifi- cations known to be deregulated in cancer and how this impacts function. The latter part of the article addresses the challenges and current status of the epigenetic drug development process as it applies to cancer therapeutics. Outline 1 Introduction 3 Drug-discovery challenges for histone- modifying targets 2 Histone modifications References Editors: C. David Allis, Marie-Laure Caparros, Thomas Jenuwein, Danny Reinberg, and Monika Lachner Additional Perspectives on Epigenetics available at www.cshperspectives.org Copyright # 2016 Cold Spring Harbor Laboratory Press; all rights reserved; doi: 10.1101/cshperspect.a019521 Cite this article as Cold Spring Harb Perspect Biol 2016;8:a019521 1 Downloaded from http://cshperspectives.cshlp.org/ on September 27, 2021 - Published by Cold Spring Harbor Laboratory Press J.E. Audia and R.M. Campbell OVERVIEW Cancer is a diverse collection of diseases characterized by the Collectively, the combination of histone marks found in dysregulation of important pathways that control normal cel- a localized region of chromatin function through multiple lular homeostasis. This escape from normal control mecha- mechanisms as part of a “chromatin-based signaling” system nisms leads to the six hallmarks of cancer, which include (Jenuwein and Allis 2001; Schreiber and Bradley 2002). -
A Study of Hong Kong Popular Music Ho Wai Chung Hong Kong B
Paper Number: 7 January 2003 Between Globalisation and Localisation: A Study of Hong Kong Popular Music Ho Wai Chung Hong Kong Baptist University The author welcome comments from readers. Contact details: Ho Wai Chung, Department of Music & Fine Arts, Hong kong Baptist University Email: [email protected] David C. Lam Institute for East-West Studies (LEWI) Hong Kong Baptist University (HKBU) LEWI Working Paper Series is an endeavour of David C. Lam Institute for East-West Studies (LEWI), a consortium with 28 member universities, to foster dialogue among scholars in the field of East-West studies. Globalisation has multiplied and accelerated inter-cultural, inter-ethnic, and inter-religious encounters, intentionally or not. In a world where time and place are increasingly compressed and interaction between East and West grows in density, numbers, and spread, East-West studies has gained a renewed mandate. LEWI’s Working Paper Series provides a forum for the speedy and informal exchange of ideas, as scholars and academic institutions attempt to grapple with issues of an inter-cultural and global nature. Circulation of this series is free of charge. Comments should be addressed directly to authors. Abstracts of papers can be downloaded from the LEWI web page at http://www.hkbu.edu.hk/~lewi/publications.html. Manuscript Submission: Scholars in East-West studies at member universities who are interested in submitting a paper for publication should send an article manuscript, preferably in a Word file via e-mail, as well as a submission form (available online) to the Series Secretary at the address below. The preferred type is Times New Roman, not less than 11 point. -
Sex, Gender, and Desire §1 Fantasy 就像你註定是要離開的 Like You Were Destined to Leave
The performance of identity in Chinese popular music Groenewegen, J.W.P. Citation Groenewegen, J. W. P. (2011, June 15). The performance of identity in Chinese popular music. Retrieved from https://hdl.handle.net/1887/17706 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/17706 Note: To cite this publication please use the final published version (if applicable). Chapter 3: Sex, Gender, and Desire §1 Fantasy 就像你註定是要離開的 Like you were destined to leave. [No guitar, silence. Xiao He seems to say to himself:] 對不起 Sorry. [To the audience:] 世界卻不會 The world, however, won’t 因為你走了而停止 stop turning because you’re gone. In the verses of SIMPLE TRUTH 簡單的道理 that precede the above, Xiao He sings of impossible love. Xiao He’s desire for his Lady is inflamed by her inaccessibility. In these last lines, Xiao He traverses the fanta- sy: he reveals his Lady to be insubstantial and redundant. Nevertheless, the ensuing instrumental, tango-like chorus creates a mixed feeling of sadness and relief. It does not suggest the awakening to propriety, to commonsensical reality that might be ex- pected. On the contrary, SIMPLE TRUTH ridicules common sense from the start. It starts with a joke: [Background noises of people talking, drinking, laughing, a few seemingly ran- domly placed staccato chords on an acous- Illustration 3.1: Xiao He and Li Tieqiao tic guitar, pause. Xiao He starts sing-talk- performing SIMPLE TRUTH with Glorious ing a capella:] Pharmacy at the Midi Modern Music Festival 2004. -
Diagnosis, Prevention, Genetics & Management of Cleft & Craniofacial
10th World Cleft Lip, Palate & Craniofacial Congress Diagnosis, Prevention, Genetics & Management of Cleft & Craniofacial Deformities Current Techniques, Research & Future Directions Transactions of 10th World Cleft Lip, Palate & Craniofacial Congress of International Cleft Lip and Palate Foundation (ICPF) Pre-Conference Live Surgical Workshop October 24 & 25, 2016 Balaji Dental & Craniofacial Hospital, Chennai, India Main Conference October 26-28, 2016 Hyatt Regency, Chennai, India Edited By : Prof. S.M. Balaji, MDS, PhD., DSc., 1 10th World Cleft Lip, Palate & Craniofacial Congress 10th World Cleft Lip, Palate & Craniofacial Congress Congress Secretariat: Balaji Dental & Craniofacial Hospital, 30, KB Dasan Road, Teynampet, Chennai, India Ph: 044-4294 7222 E-mail : [email protected] 2 10th World Cleft Lip, Palate & Craniofacial Congress Foreword Dear Colleagues, It is my pleasure and honor to bring out the official record of the scientific proceedings and transactions of the 10th World Cleft Lip and Palate Conference held in Chennai, India. The official programs of this meeting, held under the aegis of International Cleft Lip and Palate Foundation includes diverse, multidisciplinary proceedings in the management of cleft lip and palate. This record and documentation of the happenings of the meeting would serve as a ready source of reference for all orations, invited talks and free scientific presentations. Most of the research work and experience shared in conferences are often not published in open domains and remains untraceable. It is the proceedings that officially document such valuable knowledge that serves a ready reference for future generations. The treatment options in the domain of surgery, occlusion rehabilitation, speech, and genetics have undergone rapid modification in the last few years. -
Hong Kong Cantopop
Hong Kong Cantopop A Concise History Yiu-Wai Chu Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-57-1 (Hardback) ISBN 978-988-8390-58-8 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Hang Tai Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii A Note on Romanization x Chapter One Introduction 1 Chapter Two Days of Being Marginalized: The 1950s to the Early 1970s 21 Chapter Three The Rise of Cantopop: The Mid- to Late 1970s 40 Chapter Four An Age of Glory: The 1980s 69 Chapter Five The Best of Times, the Worst of Times: The 1990s 105 Chapter Six After the Fall: The New Millennium 145 Chapter Seven Epilogue: Cantopop in the Age of China 184 Appendix Chronology of Major Events 197 Selected Bibliography 218 Index 226 1 Introduction “Every generation has its own voice,” claimed James Wong 黃霑, the late god- father of Cantopop, in his doctoral thesis on the development of Cantopop.1 The English term “Cantopop”—Cantonese popular songs—did not come into existence until the 1970s, when Billboard correspondent Hans Ebert used it “to describe the locally produced popular music in Hong Kong” in 1978.2 Per James Wong’s remark—which was adapted from the well-known saying of the Qing dynasty master of Chinese culture, Wang Guowei 王國維: “Every dynasty has its own representative form of literature”3 —Cantopop is a musical form from and the voice of contemporary Hong Kong. -
Rising Mando-Pop Star Shares Tales of Love
A R O U N D T O W N 發光的城市 15 TAIPEI TIMES • FRIDAY, MAY 28, 2010 BY ANDREW C.C. HUANG MUSIC Rising Mando-pop star shares tales of love his past month marks a watershed period Shadya builds cities in her mind. comes to me. What I do is I observe the things in for rising Mando-pop star Shadya (藍又時). In PHOTO COURTESY OF ARTMUSE ENTERTAINMENT my life,” Shadya said. “For example, I read a book addition to releasing her highly acclaimed and decided to write a song titled Prologue (序).” Tsecond album Composition No. 2 Album Is Shadya’s description of romance a — Love in London (二號創作專輯 — 倫敦的愛情), reflection of her life? “If every love song the singer-songwriter also received a nomina- PERFORMANCE noTES required a romance to get written, life would be tion last week for Best Newcomer at this year’s too busy,” Shadya chuckled. “I have had very Golden Melody Awards. Next Thursday, Shadya WHAT: 2010 Listen to Shadya (2010聽聽 few romantic experiences actually. You can will also hold a mini concert titled 2010 Listen — 藍又時) count them on one hand.” to Shadya (2010聽聽 — 藍又時) at Riverside Live Shadya is also a respected songwriter who has House. The concert takes its name from a track WHEN: June 3, 8:30pm Thursday written tunes for heavyweights such as Rene Liu on her most recent album, but will also include (劉若英), Sandy Lam (林憶蓮) and Kelly Chen (陳慧 work from her first album. WHERE: Riverside Live House (西門紅樓展演 琳). “I would love to write songs for A-mei (張惠 Over the past two years, Shadya has come to 館), 177 Xining S Rd, Taipei City (台北市西寧 妹) some day too,” she said. -
2. LGBT Culture in Hong Kong
LGBT CULTURE IN HONG KONG Revised November 2020 by AUSTIN CHAN, NIGEL COLLETT AND JEFF LI PREFACE This is a compilation of information about the LGBT+ cultural scene in Hong Kong as of November 2020. It is incomplete; suggestions for additions or amendments are welcome. It includes sections on literature, theatre, film, music and media. Some names appear in several categories. Each section is arranged in a loose chronological order, rather than alphabetically, to give some idea of the development of LGBT+ culture in Hong Kong. NOTE – not all those mentioned herein are LGBT+ themselves. Their inclusion here only indicates that their work is of LGBT+ interest. TABLE OF CONTENTS ART ......................................................................... 1 Patrick Sun .......................................................................................... 1 Fred Scholle .........................................................................................2 Norm Yip Fung ....................................................................................3 Herman Wong Yee-tak....................................................................... 4 Karin Weber Gallery ........................................................................... 5 Samson Young ..................................................................................... 5 Michael Lam ........................................................................................ 7 Cosmin Costinas ................................................................................