Horseshoes, Heemstra and Hot Dogs
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Google Chrome Scores at SXSW Interactive Awards 16 March 2011, by Glenn Chapman
Google Chrome scores at SXSW Interactive awards 16 March 2011, by Glenn Chapman type of video," Google's Thomas Gayno told AFP after the award ceremony. "For Google it is very compelling because it allows us to push the browser to its limits and move the Web forward." Visitors to the website enter addresses where they lived while growing up to be taken on nostalgic trips by weaving Google Maps and Street View images with the song "We Used to Wait." A woman works on her computer as on the wall behind "It takes you on a wonderful journey all is seen the logo of Google in Germany 2005. A music synchronized with music," Gayno said. "It is like and imagery website that shows off capabilities of choreography of browser windows." Google's Chrome Web browser won top honors at a South By Southwest Interactive (SXSW) festival known US Internet coupon deals website Groupon was for its technology trendsetters. voted winner of a People's Choice award in keeping with a trend of SXSW goers using smartphones to connect with friends, deals, and happenings in the real world. A music and imagery website that shows off capabilities of Google's Chrome Web browser won Founded in 2008, Chicago-based Groupon offers top honors at a South By Southwest Interactive discounts to its members on retail goods and (SXSW) festival known for its technology services, offering one localized deal a day. trendsetters. A group text messaging service aptly named The Wilderness Downtown was declared Best of GroupMe was crowned the "Breakout Digital Trend" Show at an awards ceremony late Tuesday that at SXSW. -
God Only Knows: Historia Zespołu the Beach Boys Oraz Albumu Pet Sounds I Ich Wpływ Na Współczesną Muzykę Rozrywkową
Maciej Smółka God Only Knows: historia zespołu The Beach Boys oraz albumu Pet Sounds i ich wpływ na współczesną muzykę rozrywkową Wstęp W 1966 roku miało miejsce wiele znaczących wydarzeń dla muzyki rozrywko- wej. Spośród nich można wymienić m.in. powstanie The Jimi Hendrix Experien- ce, premierę debiutanckiego albumu Franka Zappy i The Mothers of Invention pt. Freak Out!, ostatni koncert The Beatles czy słynny wypadek motocyklowy Boba Dylana. W tym samym roku, pewnego majowego dnia stała się rzecz, która do dzisiaj kształtuje gusta muzyczne kolejnych pokoleń i odciska na nich piętno – swoją premierę miał wtedy album Pet Sounds zespołu The Beach Boys. Przez wielu zapomniany, mimo to oddziaływujący podświadomie na urozmai- canie nowych nurtów we współczesnej muzyce rozrywkowej na całym świecie. Dzisiaj uznawany za jedno z największych osiągnięć artystycznych, wtedy za niepotrzebny wybryk maszynki do tworzenia przebojów. Obecnie coraz więcej krytyków muzycznych zaczyna badać ogrom zjawiska, którym jest powszechne czerpanie wzorców z The Beach Boys, lecz charakter naukowy stanowi niewielki procent tego procederu. Widoczne inspirowanie się tym zespołem istniało już od kilku dekad, lecz stało się jeszcze bardziej po- pularne po długo oczekiwanym wydaniu w 2004 roku albumu Smile autorstwa głównego kompozytora i założyciela The Beach Boys Briana Wilsona. Płyta została wydana po 37 latach od stworzenia i przez ten okres zdążyła osiągnąć status legendarnej1. Krążek, zaraz po premierze, uzyskał ogólnoświatowe uzna- 1 J. Robinson, Beach Boys to Release Legendary ‘Smile’ Album, Ending 44 Year Wait, http:// ultimateclassicrock.com/beach-boys-smile-album-release/ (27.11.2012). 141 142 MACIEJ SMÓŁKA nie, i to pośrednio dzięki niemu świat muzyczny przypomniał sobie o istnieniu kalifornijskiego zespołu. -
Nostalgia in Indie Folk by Claire Coleman
WESTERN SYDNEY UNIVE RSITY Humanities and Communication Arts “Hold on, hold on to your old ways”: Nostalgia in Indie Folk by Claire Coleman For acceptance into the degree of Doctor of Philosophy December 20, 2017 Student number 17630782 “Hold on, hold on to your old ways” – Sufjan Stevens, “He Woke Me Up Again,” Seven Swans Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................................................. Claire Coleman Acknowledgements This thesis could not have been completed without the invaluable assistance of numerous colleagues, friends and family. The love, respect and practical support of these people, too many to name, buoyed me through the arduous privilege that is doctoral research. With special thanks to: The Supers – Dr Kate Fagan, Mr John Encarnacao and Associate Prof. Diana Blom My beloved – Mike Ford My family – Nola Coleman, Gemma Devenish, Neale Devenish, and the Fords. The proof-readers – Alex Witt, Anna Dunnill, Pina Ford, Connor Weightman and Nina Levy. My choir families – Menagerie, Berlin Pop Ensemble and Dienstag Choir Administrative staff at Western Sydney University Dr Peter Elliott Ali Kirby, Kate Ballard, Carol Shepherd, Kathryn Smith, Judith Schroiff, Lujan Cordaro, Kate Ford and the many cafes in Perth, Sydney and Berlin -
City Church, Tallahassee, Blurring the Lines of Sacred and Secular Katelyn Medic
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 City Church, Tallahassee, Blurring the Lines of Sacred and Secular Katelyn Medic Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CITY CHURCH, TALLAHASSEE: BLURRING THE LINES OF SACRED AND SECULAR By KATELYN MEDIC A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester 2014 Katelyn Medic defended this thesis on April 11, 2014. The members of the supervisory committee were: Margaret Jackson Professor Directing Thesis Sarah Eyerly Committee Member Michael McVicar Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS Make a joyful noise to the Lord, all the earth! Serve the Lord with gladness! Come into his presence with singing! (Psalm 100:1–2, ESV) I thank the leaders and members of City Church for allowing me to observe their worship practices. Their enthusiasm for worship has enriched this experience. I also thank the mentorship of the members of my committee, Margaret Jackson, Sarah Eyerly, and Michael McVicar. iii TABLE OF CONTENTS LIST OF FIGURES ....................................................................................................................... vi ABSTRACT -
The Sufjan Fake Book
THE SUFJAN FAKE BOOK or, A Good Tab is Hard to Find or, I Know the Words, I Know the Sounds COMPILED BY THE MAJESTY SNOWNERD Tabs attributed when Available. All songs written by Sufjan Stevens, unless otherwise noted 1st EDITION, 2011. - Sufjan Fake Book Table of Contents A SUN CAME! (2000).................................................. 7 A WINNER NEEDS A WAND..........................................................7 RAKE...........................................................................9 A LOVERLESS BED (WITHOUT REMISSION)...........................................10 HAPPY BIRTHDAY................................................................11 JASON.........................................................................12 KILL..........................................................................13 MICHIGAN (2003).................................................... 15 FLINT (FOR THE UNEMPLOYED AND UNDERPAID)......................................15 FOR THE WIDOWS IN PARADISE, FOR THE FATHERLESS IN YPSILANTI...................15 SAY YES! TO MICHIGAN!.........................................................17 THE UPPER PENINSULA...........................................................18 HOLLAND.......................................................................19 ROMULUS.......................................................................20 SLEEPING BEAR, SAULT SAINT MARIE..............................................21 REDFORD (FOR YIA YIA & PAPPOU)................................................22 VITO'S ORDINATION -
The Gregorian-Winter 2011
The Gregorian Winter 2011 Volume 9, Issue 3 Hello fellow Gregorians, neighbors have written. These lists cover a wide range of topics, Welcome back to another exciting, from comic books to films, music albeit cold and snowy, semester at to soccer. Penn. I hope everyone has re- turned from break well-rested, Finally, we would like to wish eve- well-fed, and ready for whatever ryone the best of luck this semes- this new year will bring. In addi- ter, whether it is getting better tion to the many events that Penn grades, finding an internship dur- has in store for us (namely Spring ing OCR, surviving until gradua- Fling), Gregory College House also tion, or simply sticking to your has a great number of events New Year’s resolutions. And if you planned. Throughout each week, are fretting about the cold, re- there will be various language member that spring is just around house events and film screenings. the corner (assuming Punxsutaw- Of course, BYOM will still take ney Phil doesn’t see his shadow). place on Tuesdays, study breaks Also don’t forget to take time to on Wednesdays, brunch on Sun- enjoy the small things, because I days, and I Love TV on about can tell you from experience that every other Sunday. Furthermore, this semester will be over in a there will be house-wide events flash. Before you know it, you’ll be for the Superbowl, the Academy in your beach shorts wondering Award (i.e. Oscar), and many oth- where the time went. ers. -
Caldas Chs Dr Bauru.Pdf (14.59Mb)
UNIVERSIDADE ESTADUAL PAULISTA “JÚLIO DE MESQUITA FILHO” FACULDADE DE ARQUITETURA, ARTES E COMUNICAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO LINHA DE PESQUISA: PRODUÇÃO DE SENTIDO NA COMUNICAÇÃO MIDIÁTICA CARLOS HENRIQUE SABINO CALDAS VIDEOCLIPE INTERATIVO: NOVAS FORMAS EXPRESSIVAS NO AUDIOVISUAL Bauru 2018 CARLOS HENRIQUE SABINO CALDAS VIDEOCLIPE INTERATIVO: NOVAS FORMAS EXPRESSIVAS NO AUDIOVISUAL Tese de Doutorado apresentada ao Programa de pós-graduação em Comunicação da Faculdade de Arquitetura, Artes e Comunicação da Universidade Estadual Paulista “Júlio de Mesquita Filho”, campus Bauru, para a obtenção do título de doutor, sob a orientação da Professora Doutora Ana Silvia Lopes Davi Médola (Linha de Pesquisa 2: Produção de Sentido na Comunicação Midiática). Bauru 2018 Caldas, Carlos Henrique Sabino. Videoclipe interativo: novas formas expressivas no audiovisual / Carlos Henrique Sabino Caldas, 2018 347 f. : il. Orientador: Ana Silvia Lopes Davi Médola Tese (Doutorado)–Universidade Estadual Paulista. Faculdade de Arquitetura, Artes e Comunicação, Bauru, 2018 1. Videoclipe Interativo. 2. Remediação. 3. Hibridismo. 4. Sincretismo de Linguagens. 5. Semiótica. I. Universidade Estadual Paulista. Faculdade de Arquitetura, Artes e Comunicação. II. Título. Dedico este trabalho a Deus e a minha família, em especial a minha mãe Rosa. AGRADECIMENTOS Ao meu adorado Deus que me orientou neste caminho; A minha amada esposa Jackeline que me acompanhou em todos os momentos e me motivou dia a dia a prosseguir; Aos meus dois lindos filhos, Lelê -
UA37/44 Tidbits of Kentucky Folklore
Western Kentucky University TopSCHOLAR® Faculty/Staff Personal Papers WKU Archives Records 1937 UA37/44 Tidbits of Kentucky Folklore Gordon Wilson Follow this and additional works at: https://digitalcommons.wku.edu/fac_staff_papers Part of the Folklore Commons, Journalism Studies Commons, Linguistic Anthropology Commons, Mass Communication Commons, Oral History Commons, and the Social History Commons Recommended Citation Wilson, Gordon, "UA37/44 Tidbits of Kentucky Folklore" (1937). Faculty/Staff Personal Papers. Paper 171. https://digitalcommons.wku.edu/fac_staff_papers/171 This Other is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Faculty/Staff Personal Papers by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ORIGINALS TIDBITS OF KENTUCKY FOLKLORE by Gordon Wilson Vol. II Nos. 101-199 /\] 0, / ) .C IJ "I J it., tl n 1J • 1 t f, 7 () !_J ( i.n, Lo (" i_ (7 '·'. .l + l. .., ,, cr;nt () _j ,, i, ' -;, ii'" n, plrlr} -,-, l /\Jo, I llc,d :n11l_(i .,. tron int : j { J •• ' 1-; 1 l_i C1)11 l(! i 111 C:O'.l.1c7 ,. ,,-i,nn nf bF;J·n cloor --i t''1 nr1 1 ''. ·,1,,71 'I' I. r· f"'•n ·1 i_ nn --.-.h 11 f'. t .i 1· F;rc.l ji:int h (J 1,i u J. '.-! i_ :i. [J .Jj (JJ of (! l; ov1 ned i_ J' I C) l .l. d () r-: h;__ 1;,- ; ,,_;'_'[ 1 (; l,- 1 i t (j : ' ' '1 I. cc 1 L :i: --~ C I i' /yjJ;¢/. (Vo, v- '() \) _r 11, _r·1,1nnj__ie-;f.· _11J1·; ld en: i-'.' t,)1; t ·el :i_ li.r 01c.1.-fe,:,::;l1ioncc1 Coux·ting /(_! ffothinc ho.fJ cl1b,nc:nd Viore rr::d1cr,,1l;y :i.n the lr;bt L\!fO G:C tl1:cr:1t·: J~ ~ell-br·ed boy did not n~Lr,. -
ET 76 (Classifiche 2010)
===== ELEPHANT TALK ===== <http://www.burioni.it/forum/ridi/et/ethome.htm> rivista musicale elettronica diretta da Riccardo Ridi <[email protected]> vicedirettore Filippo Tagliaferri -------------------------------------------------- Anno XVI Numero 76 (7 Febbraio 2011) -------------------------------------------------- INDICE - DISCHI E ELEFANTI (POCHISSIMI GLI ELEFANTI) / di RR - LA METACLASSIFICA 2010 DEI REDATTORI E DEI LETTORI DI ET / a cura di FT - LE CLASSIFICHE 2010 DEI REDATTORI E DEI LETTORI DI ET / a cura di RR -------------------------------- - DISCHI ED ELEFANTI (POCHISSIMI GLI ELEFANTI) / di RR Sedici anni pieni (ma le annate, a rigore, sarebbero diciotto, perchè cominciammo in dicembre e terminiamo in febbraio, anche se ne abbiamo sempre conteggiate due in meno nella testata), una ottantina di numeri (anche se formalmente sono stati settantasei, a causa di un numero zero e di alcuni supplementi), tanti autori (che ringrazio), qualche lettore (che ringrazio ancora di più) e parecchie classifiche, diciassette delle quali annuali (da quella del 1994, che rifletteva esclusivamente i miei gusti personali, a quella del 2010, che coinvolge anche altre dieci voci di lettori e redattori). Questi i numeri di Elephant Talk, una delle primissime riviste elettroniche musicali italiane - nata quando internet era ancora una novità recente - e una delle ultime a mantenere un formato esclusivamente testuale e una grafica spartana, anche in tempi di multimedialità dilagante e di presunto web 2.0. Numeri che ci consentono di concludere con orgoglio -
IT's a Cross-Platform Thing
68 Places | west coast USA Transmedia. You’ve heard the term and jive role-playing game” for its Nintendo Game Boy Beach-based B-Reel is no exception. A recipient with its concept: a method of conveying messages, system, Pokémon soon became a media franchise of five Cyber Lions at Cannes 2010, B-Reel themes or storylines to a mass audience through of epic proportions with merchandise stretching specialises in high-end web productions, film and the well-placed and artful use of different media across different platforms – video games, anime animation. Working with sister company B-Reel platforms. Play well across media and you’ll comic books, TV shows and Pokémon’s popular Films (a traditional production company with its enhance a brand’s story and solidify its dominance trading cards. All these experiences motivated own roster of directors), B-Reel operates as a and pervasiveness in the marketplace. In short you ever more consumption from bona fide fans. one-stop-shop. will make it relevant. 180 Los Angeles recently teamed up with Transmedia is used today as a way to advertise Digital innovation B-Reel Films director Anders Hallberg on the in a splintered digital world, but it actually goes Consumers became active hunters and gatherers Mitsubishi Live Drive campaign. Teasers were back to a concept used by Nintendo to market a on an epic scale. Pokémon went on to become the created to entice viewers to take a test drive of the new product on its hands. Rubik’s Cube of the 90s and is today the second company’s new Outlander Sport – online. -
We Used to Wait: Music Videos and Creative Literacy
We Used to Wait This report was made possible by grants from the John D. and Catherine T. MacArthur Foundation in connection with its grant making initiative on Digital Media and Learning. For more infor- mation on the initiative visit http://www.macfound.org. The John D. and Catherine T. MacArthur Foundation Reports on Digital Media and Learning Peer Participation and Software: What Mozilla Has to Teach Government by David R. Booth The Future of Thinking: Learning Institutions in a Digital Age by Cathy N. Davidson and David Theo Goldberg with the assistance of Zoë Marie Jones Kids and Credibility: An Empirical Examination of Youth, Digital Media Use, and Information Credibility by Andrew J. Flanagin and Miriam Metzger with Ethan Hartsell, Alex Markov, Ryan Medders, Rebekah Pure, and Eli- sia Choi New Digital Media and Learning as an Emerging Area and “Worked Exam- ples” as One Way Forward by James Paul Gee Digital Media and Technology in Afterschool Programs, Libraries, and Muse- ums by Becky Herr-Stephenson, Diana Rhoten, Dan Perkel, and Christo Sims with contributions from Anne Balsamo, Maura Klosterman, and Susana Smith Bautista Young People, Ethics, and the New Digital Media: A Synthesis from the Good- Play Project by Carrie James with Katie Davis, Andrea Flores, John M. Francis, Lindsay Pettingill, Margaret Rundle, and Howard Gardner Confronting the Challenges of Participatory Culture: Media Education for the 21st Century by Henry Jenkins (P.I.) with Ravi Purushotma, Margaret Weigel, Katie Clinton, and Alice J. Robison The Civic Potential of Video Games by Joseph Kahne, Ellen Middaugh, and Chris Evans We Used to Wait: Music Videos and Creative Literacy By Rebecca Kinskey Quest to Learn: Developing the School for Digital Kids by Katie Salen, Robert Torres, Loretta Wolozin, Rebecca Rufo-Tepper, and Arana Shapiro Measuring What Matters Most: Choice-Based Assessments for the Digital Age by Daniel L. -
Digital Narratives: a Study of the Arcade Fire Interactive Music Videos
Comunicação e Sociedade, vol. 27, 2015, pp. 387 – 402 doi: http://dx.doi.org/10.17231/comsoc.27(2015).2108 Digital narratives: a study of the Arcade Fire interactive music videos Elisa Maria Rodrigues Barboza Abstract Initially seen as an audiovisual product made mainly for television, the music video, in re- cent years, has been expanding itself and gaining strength in the virtual environment. The possi- bility of easy and quick access through websites such as Vimeo and YouTube, besides the greater freedom these sites offer in comparison to the schedules of television channels, was only the beginning of the process of this format’s creative development. Its embracing of the technologi- cal changes culminates with the appearance of interactive music videos that strengthen invest- ments made in experiences of digital narratives. In this context, one of the bands that stands out is Arcade Fire, whose trajectory already counts with four interactive audiovisual projects, namely Neon Bible (Vincent Morisset, 2007), Sprawl II (Vincent Morisset, 2010), The Wilderness Dowtown (Chris Milk, 2010) and Just a Reflektor (Vincent Morisset, 2013). Keywords Music video; digital narratives; interactivity; Arcade Fire Definition of Music Video In order to define the term interactive“ music video”, it is necessary to first under- stand the origin and the language of the music video as known in its initial versions, prior to its insertion in the internet. For Soares (2012: 32): “In principle, the video clip was simply called musical number. Then it would be named promo, a direct allusion to the word ‘promotional’. The term video clip would finally be used only from the 80s on.