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yetanothermagazine filmtvmusic aug2010 lima film festival 2010 highlights blockbuster season from around the world in this yam we review // aftershocks, inception, toy story 3, the ghost writer, taeyang, se7en, boa, shinee, bibi zhou, jing chang, the derek trucks band, time of eve and more // yam exclusive interview with songwriter diane warren film We keep working on that, but there’s toy story 3 pg4 the ghost writer pg5 so much territory to cover, and so You know the address: aftershocks pg6 very little of us. This is why we need [email protected] inception pg7 lima film festival// yam contributors. We know our highlights pg9 readers are primarily located in the amywong // cover// US, but I’m hoping to get people yam exclusive from other countries to review their p.s.: I actually spoke to Diane interview with diane warren pg12 local releases. The more the merrier, Warren. She's like the soundtrack music people. of our lives, to anyone of my the derek trucks band - roadsongs pg16 generation anyway. Check it out. se7en - digital bounce pg16 shinee - lucifer pg17 Yup, we’re grovelling for taeyang - solar pg17 contributors. I’m particularly eminem - recovery pg18 macy gray - the sellout pg18 interested in someone who is jing chang - the opposite me pg18 located in New York, since we’ve bibi zhou - i.fish.light.mirror pg18 nick chou - first album pg19 received a couple of screening boa - hurricane venus pg19 invites, but we got no one there. tv Interested? Hit me up. bad guy pg20 time of eve pg20 books uso. -
European Parliament 2019-2024
European Parliament 2019-2024 TEXTS ADOPTED P9_TA(2021)0356 Hong Kong, notably the case of Apple Daily European Parliament resolution of 8 July 2021 on Hong Kong, notably the case of Apple Daily (2021/2786(RSP)) The European Parliament, – having regard to all its previous resolutions on Hong Kong, in particular those of 21 January 2021 on the crackdown on the democratic opposition in Hong Kong1, of 19 June 2020 on the PRC national security law for Hong Kong and the need for the EU to defend Kong Kong’s high degree of autonomy2, of 18 July 2019 on the situation in Hong Kong3 and of 24 November 2016 on the case of Gui Minhai, jailed publisher in China4, – having regard to its previous resolutions on China, in particular those of 20 May 2021 on Chinese countersanctions on EU entities and MEPs and MPs5, of 12 September 2018 on the state of EU-China relations6 and of 16 December 2015 on EU-China relations7, – having regard to its recommendation of 13 December 2017 to the Council, the Commission and the Vice-President of the Commission / High Representative of the Union for Foreign Affairs and Security Policy (VP/HR) on Hong Kong, 20 years after handover8, – having regard to the joint statement by Members of the European Parliament David McAllister and Reinhard Bütikofer on the new national security law in Hong Kong of 1 July 2020, – having regard to the European Parliament Conference of Presidents’ press statement of 6 July 2020, – having regard to the statements by the Spokesperson of the European External Action Service (EEAS) of 23 June 2021 on the closure of Apple Daily’s Hong Kong operations 1 Texts adopted, P9_TA(2021)0027. -
Will You Still Love Me Tomorrow? a Film by Arvin Chen
Will You Still Love Me Tomorrow? A film by Arvin Chen “Poignant and heartening. Playfully channeling Woody Allen, Jacques Tati and Jacques Demy” - Maggie Lee, Variety “Wry and whimsical”- Jordan Mintzer, The Hollywood Reporter Taiwan / 2013 / Comedy / Mandarin with English subtitles 106 min. / 2.35:1 / Dolby Digital Film Movement Press Contact: Lisa Trifone | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 209 | fax: (212) 941-7812 | [email protected] Film Movement Theatrical Contact: Rebeca Conget | 109 W. 27th Street, Suite 9B | New York, NY 10001 tel: (212) 941-7744 x 213 | fax: (212) 941-7812 | [email protected] FULL SYNOPSIS In this madcap and lighthearted comedic romp, introverted optometrist Weichung begins to question his marriage with his wife Feng upon learning of her desire to have another baby. At his sister’s engagement party, Weichung bumps into an old friend, Stephen, a wedding photographer who, though also married, is living the high life of a younger, single gay man. When Stephen teases Weichung for his newly straight-laced lifestyle, dormant emotions are awakened in Weichung, setting him off on a quest for true romance and desire. SHORT SYNOPSIS In this madcap and lighthearted comedic romp, introvert Weichung begins to question his marriage to Feng when she signals she’s ready to have another baby and an unexpected encounter with a friend from his past awakens long-dormant emotions. It all sets him off on a quest for true romance and desire. LOGLINE Introvert Weichung sets off to discover his true self in this lighthearted comedic romp. -
A Study of the Rap Music Industry in Bogota, Colombia by Laura
The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia by Laura L. Bunting-Hudson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2017 © 2017 Laura L. Bunting-Hudson All Rights Reserved ABSTRACT The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia Laura L. Bunting-Hudson How do rap artists in Bogota, Colombia come together to make music? What is the process they take to commodify their culture? Why are some rappers able to become socially mobile in this process, while others are less so? What is technology’s role in all of this? This ethnography explores those questions, as it carefully documents the strategies utilized by various rap groups in Bogota, Colombia to create social mobility, commoditize products and to create a different vision of modernity within the hip-hop community, as an alternative to the ideals set forth by mainstream Colombian society. Resistance Art Poetry (RAP), is said to have originated in the United States but has become a form of international music. In conducting ethnographic research from December of 2012 to October 2014, I was able to discover how rappers organize themselves politically, how they commoditize their products and distribute them to create various types of social mobilities. In this dissertation, I constructed models to typologize rap groups in Bogota, Colombia, which I call polities of rappers to discuss how these groups come together, take shape, make plans and execute them to reach their business goals. -
Perkembangan Musik Hip-Hop Di Indonesia (1993-2018)
BEAT, RIMA, DAN PERLAWANAN: PERKEMBANGAN MUSIK HIP-HOP DI INDONESIA (1993-2018) Muhammad Fadhil Setiawan 4415161671 Skripsi ini Disusun untuk Memenuhi Persyaratan Guna Memperoleh Gelar Sarjana Pendidikan PROGRAM STUDI PENDIDIKAN SEJARAH FAKULTAS ILMU SOSIAL UNIVERSITAS NEGERI JAKARTA 2021 ABSTRAK MUHAMMAD FADHIL SETIAWAN. Beat, Rima, dan Perlawanan: Perkembangan Musik Hip-hop di Indonesia (1993-2018). Skripsi. Jakarta : Program Studi Pendidikan Sejarah, Fakultas Ilmu Sosial, Universitas Negeri Jakarta, 2021. Skripsi ini mengkaji tentang proses masuk dan berkembangnya musik Hip-hop di Indonesia. Musik Hip-hop atau musik Rap merupakan sebuah aliran musik perkembangan dari kebudayaan Hip-hop, yaitu sebuah kebudayaan yang dimaknai sebagai kultur gerakan yang muncul di Amerika serikat pada tahun 1970-an. Skripsi Ini bertujuan untuk meneliti tentang bagaimana proses masuknya musik Hip-hop ke Indonesia. Skripsi Ini juga membahas mengenai perkembangan musik Hip-hop di Indonesia sejak awal kemunculannya pada tahun 1993 sampai tahun 2018 pada saat karya dari musisi Hip-hop Indonesia Rich Brian berhasil diterima pada jenjang Internasional. Skripsi ini menggunakan metode historis dengan teknik penulisan deskriptif naratif. Sumber yang digunakan dalam skripsi ini berupa sumber arsip, pustaka, dan lisan. Sumber arsip yang digunakan adalah surat kabar dan majalah yang membahas tentang musik Hip-hop di Indonesia. Sumber pustaka yang digunakan adalah buku-buku yang berhubungan mengenai musik khususnya musik Hip-hop di Indonesia. Sumber lisan yang digunakan adalah wawancara dengan para pelaku musik Hip-hop indonesia dan pengamat musik. Hasil skripsi ini menunjukkan bahwa musik Hip-hop masuk ke Indonesia pada pertengahan dekade 1980 melalui tren tari kejang. Namun lahirnya musik Hip-hop di Indonesia terjadi pada tahun 1993 pada saat rapper Iwa K merilis album musik Hip-hop pertama di Indonesia yang berjudul “Ku Ingin Kembali”. -
China Media Bulletin
Issue No. 154: May 2021 CHINA MEDIA BULLETIN Headlines ANALYSIS The Gutting of Hong Kong’s Public Broadcaster P2 IN THE NEWS • Regulators “clean up” internet ahead of CCP anniversary alongside censorship of Oscars, Bible apps, and Weibo P5 • Surveillance updates: Personal data-protection law advances, Apple compromises on user data, citizen backlash P6 • Criminal charges for COVID commentary, Uyghur religious expression, Tibetan WeChat use P7 • Hong Kong: Website blocks, netizen arrests, journalist beating, and Phoenix TV ownership change P9 • Beyond China: Beijing’s COVID-19 media strategy, waning propaganda impact in Europe, new US regulations to enhance transparency P10 FEATURED PUSHBACK Netizens demand transparency on Chengdu student’s death P12 WHAT TO WATCH FOR P13 TAKE ACTION P14 IMAGE OF THE MONTH Is RTHK History? This cartoon published on April 5 by a Hong Kong visual arts teacher is part of a series called “Hong Kong Today.” It depicts a fictional Hong Kong Museum of History, which includes among its exhibits two institutions that have been critical to the city’s freedom, but are being undermined by Chinese and Hong Kong government actions. The first is the Basic Law, the mini-constitution guaranteeing freedom of expression and other fundamental rights; the other is Radio Television Hong Kong (RTHK), the once-respected public broadcaster now facing a government takeover. The teacher who posted the cartoon is facing disciplinary action from the Education Department. Credit: @vawongsir Instagram Visit http://freedomhou.se/cmb_signup or email [email protected] to subscribe or submit items. CHINA MEDIA BULLETIN: MAY 2021 ANALYSIS The Gutting of Hong Kong’s Public Broadcaster By Sarah Cook A government takeover of Radio Television Hong Kong has far-reaching Sarah Cook is the implications. -
UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Essays on Political Economy of the Media Permalink https://escholarship.org/uc/item/76c987rx Author Lam, Onyi Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Essays on Political Economy of the Media A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Economics by Onyi Lam Committee in charge: Professor Roger Gordon, Chair Professor Gordon Dahl Professor James Rauch Professor Molly Roberts Professor Kenneth Wilbur 2017 Copyright Onyi Lam, 2017 All rights reserved. The dissertation of Onyi Lam is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2017 iii DEDICATION To my parents, Heung Wah Lam and Sau Man Ho, and my city, Hong Kong iv TABLE OF CONTENTS Signature Page ....................................... iii Dedication ......................................... iv Table of Contents ..................................... v List of Figures ....................................... viii List of Tables ........................................ xi Acknowledgements ..................................... xiii Vita ............................................. xiv Abstract of Dissertation .................................. xv Chapter 1 Advertisers Capture: Evidence from Hong Kong ............. 1 1.1 Introduction -
Jogja Hiphop Foundation: When a Global Cultural Phenomenon Meets Javanese Culture
Prosiding The 4th International Conference on Indonesian Studies: “Unity, Diversity and Future” JOGJA HIPHOP FOUNDATION: WHEN A GLOBAL CULTURAL PHENOMENON MEETS JAVANESE CULTURE Mirdina Muchtadi Universitas Indonesia [email protected] Abstract HipHop is a youth culture consisting of the four elements rap music, graffiti, MCing and DJing. Originating from black African American inhabited suburbs in the United States around the 1970-ies as a counter movement against the dominating upper class, an anti-violence form of expression catalyzed by battles between territorial rivalry gangs and a growing leisure pastime among young working class African Americans, it expanded its popularity to different parts of the world. The HipHop culture became part of the African American identity, at the same time especially also quickly gained fame and fortune in the music industry. Today the HipHop culture is part of the popular culture and a global phenomenon, where its development, persuit, interpretation as well as performance vary from nations, societies to places. It is practiced in different ways and dimensions, uniting people from diffenrent backgrounds with the same interest. This paper examines the assimilation and acceptance of the HipHop culture in the Indonesian city of Yogyakarta - a city, shaped and characterized by its ancient traditions and norms of the well-known Javanese culture. HipHopDiningrat or better known as Jogja HipHop Foundation (JHF), a foundation projecting itself to accommodate Yogyakarta based rap groups and art crews, is representing the answer to the HipHop scene in Yogyakarta and the state of glocality. Members of this foundation consciously stay true to their cultural heritage by means, artists are using the Javenese dialect for expressing their thoughts, adopting Javanese tales in their lyrics and arts pieces as well as implementing traditional Javanese instruments and music in their work. -
Conceptually Androgynous
Umeå Center for Gender Studies Conceptually androgynous The production and commodification of gender in Korean pop music Petter Almqvist-Ingersoll Master Thesis in Gender Studies Spring 2019 Thesis supervisor: Johanna Overud, Ph. D. ABSTRACT Stemming from a recent surge in articles related to Korean masculinities, and based in a feminist and queer Marxist theoretical framework, this paper asks how gender, with a specific focus on what is referred to as soft masculinity, is constructed through K-pop performances, as well as what power structures are in play. By reading studies on pan-Asian masculinities and gender performativity - taking into account such factors as talnori and kkonminam, and investigating conceptual terms flower boy, aegyo, and girl crush - it forms a baseline for a qualitative research project. By conducting qualitative interviews with Swedish K-pop fans and performing semiotic analysis of K-pop music videos, the thesis finds that although K-pop masculinities are perceived as feminine to a foreign audience, they are still heavily rooted in a heteronormative framework. Furthermore, in investigating the production of gender performativity in K-pop, it finds that neoliberal commercialism holds an assertive grip over these productions and are thus able to dictate ‘conceptualizations’ of gender and project identities that are specifically tailored to attract certain audiences. Lastly, the study shows that these practices are sold under an umbrella of ‘loyalty’ in which fans are incentivized to consume in order to show support for their idols – in which the concept of desire plays a significant role. Keywords: Gender, masculinity, commercialism, queer, Marxism Contents Acknowledgments ................................................................................................................................... 1 INTRODUCTION ................................................................................................................................. -
A Case Study of Hong Kong SAR and Its Implications to Chinese Foreign Policy
Paradiplomacy and its Constraints in a Quasi-Federal System – A Case Study of Hong Kong SAR and its Implications to Chinese Foreign Policy Wai-shun Wilson CHAN ([email protected]) Introduction Thank for the Umbrella Movement in 2014, Hong Kong has once again become the focal point of international media. Apart from focusing the tensions built among the government, the pro-Beijing camp and the protestors on the pathway and the pace for local democratization, some media reports have linked the movement with the Tiananmen Incident, and serves as a testing case whether “One Country, Two Systems” could be uphold under the new Xin Jinping leadership.1 While academics and commentators in Hong Kong and overseas tend to evaluate the proposition from increasing presence of Beijing in domestic politics and the decline of freedoms and rights enjoyed by civil society,2 little evaluation is conducted from the perspective of the external autonomy enjoyed by Hong Kong under “One Country, Two Systems”. In fact, the Sino-British Joint Declaration and the subsequent Basic Law have defined and elaborated the scope of Hong Kong’s autonomy in conducting external relations ‘with states, regions and relevant international organizations.’ 3 It is therefore tempted to suggest that the external autonomy enjoyed by Hong Kong SAR Government serves as the other pillar of “One Country, Two Systems”, giving an unique identity of Hong Kong in global politics which may be different from that possessed by mainland China. Though officially “One Country, Two Systems” practiced in Hong Kong (and Macao) is not recognized by Beijing as a federal arrangement between the Central People’s Government and Hong Kong SAR Government, the internal and external autonomy stipulated in the Basic Law gives Hong Kong similar, to some extent even more, power as a typical federated unit. -
Operation Manual © 2001 E-MU / ENSONIQ All Rights Reserved
Operation Manual © 2001 E-MU / ENSONIQ All Rights Reserved FI11542 Rev. A E-MU World Headquarters Europe, Africa, Middle East E-MU / ENSONIQ E-MU / ENSONIQ P.O. Box 660015 Suite 6, Adam Ferguson House Scotts Valley, CA USA Eskmills Industrial Park 95067-0015 Musselburgh, East Lothian Telephone: 831-438-1921 Scotland, EH21 7PQ Fax: 831-438-8612 Tel: +44 (0) 131-653-6556 Internet: www.emu.com Fax: +44 (0) 131-665-0473 Important Notice: In order to obtain warranty service on your MP-7 unit, the serial number sticker must be intact and you must have a sales receipt or other proof of purchase. If there is no serial number sticker on the MP-7, please contact E-MU Systems at once. This product is covered under one or more of the following U.S. patents: 4,404,529; 4,506,579; 4,699,038; 4,987,600; 5,013,105; 5,072,645; 5,111,727; 5,144,676; 5,170,367; 5,248,845; 5,303,309; 5,317,104; 5,342,990; 5,430,244 and foreign patents and/or pending patents. All other trademarks belong to their respective companies. Specifications and features are subject to change without notice. MP-7 Operation Manual i Table of Contents Table of Contents Introduction ............................................................................. 1 Product Description .......................................................................................1 Important Safety Instructions .................................................. 4 Foreign Language Warnings - German ................................... 7 Foreign Language Warnings - French .................................. -
Wallach-Goodbye My Blind.Pdf
Contents Acknowledgments The University Pms of Mississippi is a member of the Introduction: The Politics and Aesthetics of Language Choice Association of American University Presses. and Dialect in Popular Music The editors would like to extend their thanks to Pat -Harris M. Bergw Browne, director of Bowling Green State University Press, and to Gary Burns, editor of Popular Muric and Society, for allowing us to reprint the essays from the special issue of Part One. Language Choice, Popular Music, Popular Mwic and Socieiy (Vol. 24.3, fall ZOOO), which and Globalization carried the subtitle, "Global Popular Music: The Politics and Aesthetics of Language Choice." Doin' Damage in My Native Language: The Use of The essays by Tony Mitchell, Paul D. Greene and David "Resistance Vernaculars" in Hip Hop in France, Italy, and R. Henderson, Marla Elena Cepeda, and Edward Lackey all are reprinced in chis volume as they appeared in the AotearoaINew Zealand original publication. The essays by Alex Perullo and John -Tony Mitchell Fenn, Morgan Gerard and Jack Sidnell, and Cece Cutler are revised versions of the original publication. Language Ideologies, Choices, and Practices in Eastern African Copyright O zoo? by University Press of Mississippi Hip Hop All rights reserved -Alex Pemllo and John Fenn Manufacmred in the United States of America 11 10 09 08 07 06 OF 04 03 4 3 2 I Q "Goodbye My Blind Majesty": Music, Language, and Politics Library of Congress Cataloging-in-PublicationData in the Indonesian Underground Global pop, local language 1 edited by Harris M. Berger and -Jotmy WalLach Michael Thomas Carroll.