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The Popular Culture Studies Journal
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 6 NUMBER 1 2018 Editor NORMA JONES Liquid Flicks Media, Inc./IXMachine Managing Editor JULIA LARGENT McPherson College Assistant Editor GARRET L. CASTLEBERRY Mid-America Christian University Copy Editor Kevin Calcamp Queens University of Charlotte Reviews Editor MALYNNDA JOHNSON Indiana State University Assistant Reviews Editor JESSICA BENHAM University of Pittsburgh Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture- studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2018 Midwest Popular and American Culture Association. All rights reserved. MPCA/ACA, 421 W. Huron St Unit 1304, Chicago, IL 60654 Cover credit: Cover Artwork: “Wrestling” by Brent Jones © 2018 Courtesy of https://openclipart.org EDITORIAL ADVISORY BOARD ANTHONY ADAH FALON DEIMLER Minnesota State University, Moorhead University of Wisconsin-Madison JESSICA AUSTIN HANNAH DODD Anglia Ruskin University The Ohio State University AARON BARLOW ASHLEY M. DONNELLY New York City College of Technology (CUNY) Ball State University Faculty Editor, Academe, the magazine of the AAUP JOSEF BENSON LEIGH H. EDWARDS University of Wisconsin Parkside Florida State University PAUL BOOTH VICTOR EVANS DePaul University Seattle University GARY BURNS JUSTIN GARCIA Northern Illinois University Millersville University KELLI S. BURNS ALEXANDRA GARNER University of South Florida Bowling Green State University ANNE M. CANAVAN MATTHEW HALE Salt Lake Community College Indiana University, Bloomington ERIN MAE CLARK NICOLE HAMMOND Saint Mary’s University of Minnesota University of California, Santa Cruz BRIAN COGAN ART HERBIG Molloy College Indiana University - Purdue University, Fort Wayne JARED JOHNSON ANDREW F. HERRMANN Thiel College East Tennessee State University JESSE KAVADLO MATTHEW NICOSIA Maryville University of St. -
New Entry of Record Labels in the Music Industry
Start Me Up: New Entry of Record Labels in the Music Industry Master Thesis MSc Business Administration Management and Entrepreneurship in the Creative Industries Faculty of Economics and Business, Amsterdam Business School Myra Alice Wilhelmina Ruers - 11903929 Supervisor: Dr. M. Piazzai 21st of June 2018 Statement of Originality This document is written by Student Myra Ruers, who declares to take full responsibility for the contents of this document. I declare that the text and the work presented in this document is original and that no sources other than those mentioned in the text and its references have been used in creating it. The Faculty of Economics and Business is responsible solely for the supervision of completion of the work, not for the contents. 2 Abstract The music industry is extremely vibrant, diverse, and inherently uncertain. Record labels are the main intermediaries in this industry, facilitating the connection between the creative input from musicians and the demand from the consumers. Due to many technological advancements, the barriers to entry have decreased significantly, hence making it easier to enter this industry as a new record label. Additionally, strategic integration options allow existing firms to start new ventures by acquiring or initiating subsidiaries. This research focuses on the multiple modes through which new entry can be commenced. These entry modes all have their own characteristics and consequences for the configurations of the industry. The likelihood of entry, the subsequent performance of new record labels, and the effects on the diversity of the output are the main topics that are explored. In this study, databases storing longitudinal information on musical releases are used to compile a dataset with the necessary information on new record labels. -
Reflexión Académica En Diseño & Comunicación
ISSN 1668-1673 2020 XLII • 2020 Año XXI. Vol 42. Mayo 2020. Buenos Aires. Argentina XLII Reflexión Académica en Diseño & Comunicación VI Edición Congreso de Tendencias Escénicas I Edición Congreso de Tendencias Audiovisuales [Presente y futuro del Espectáculo] lexión Académica en Diseño & Comunicación lexión f Re Facultad de Diseño y Comunicación. Mario Bravo 1050. Ciudad Autónoma de Buenos Aires. C1175ABT. Argentina www.palermo.edu Reflexión Académica en Diseño y Comunicación Universidad de Palermo. Comité Editorial Facultad de Diseño y Comunicación. Lucia Acar. Universidade Estácio de Sá. Brasil. Centro de Estudios en Diseño y Comunicación. Gonzalo Javier Alarcón Vital. Universidad Autónoma Metropolitana. México. Mario Bravo 1050. Fernando Alberto Alvarez Romero. Universidad de Bogotá Jorge Tadeo C1175ABT. Ciudad Autónoma de Buenos Aires, Argentina. Lozano. Colombia. www.palermo.edu Gonzalo Aranda Toro. Universidad Santo Tomás. Chile. [email protected] Christian Atance. Universidad de Buenos Aires. Argentina. Verónica Barzola. Universidad de Palermo. Argentina. Director Alberto Beckers Argomedo. Universidad Santo Tomás.Chile. Oscar Echevarría Renato Antonio Bertao. Universidade Positivo. Brasil. Coordinadora de la Publicación Allan Castelnuovo. Market Research Society. Reino Unido. Diana Divasto Jorge Manuel Castro Falero. Universidad de la Empresa. Uruguay. Raúl Castro Zuñeda. Universidad de Palermo. Argentina. Mario Rubén Dorochesi Fernandois. Universidad Técnica Federico Santa María. Chile. Adriana Inés Echeverria. Universidad de la Cuenca del Plata. Argentina. Universidad de Palermo Jimena Mariana García Ascolani. Universidad Iberoamericana. Paraguay. Marcelo Ghio. Instituto San Ignacio. Perú. Rector Clara Lucia Grisales Montoya. Academia Superior de Artes. Colombia. Ricardo Popovsky Haenz Gutiérrez Quintana. Universidad Federal de Santa Catarina. Brasil. José Korn Bruzzone. Universidad Tecnológica de Chile. Chile. Facultad de Diseño y Comunicación Denisse Morales. -
Record Dreams Catalog
RECORD DREAMS 50 Hallucinations and Visions of Rare and Strange Vinyl Vinyl, to: vb. A neologism that describes the process of immersing yourself in an antique playback format, often to the point of obsession - i.e. I’m going to vinyl at Utrecht, I may be gone a long time. Or: I vinyled so hard that my bank balance has gone up the wazoo. The end result of vinyling is a record collection, which is defned as a bad idea (hoarding, duplicating, upgrading) often turned into a good idea (a saleable archive). If you’re reading this, you’ve gone down the rabbit hole like the rest of us. What is record collecting? Is it a doomed yet psychologically powerful wish to recapture that frst thrill of adolescent recognition or is it a quite understandable impulse to preserve and enjoy totemic artefacts from the frst - perhaps the only - great age of a truly mass art form, a mass youth culture? Fingering a particularly juicy 45 by the Stooges, Sweet or Sylvester, you could be forgiven for answering: fuck it, let’s boogie! But, you know, you’re here and so are we so, to quote Double Dee and Steinski, what does it all mean? Are you looking for - to take a few possibles - Kate Bush picture discs, early 80s Japanese synth on the Vanity label, European Led Zeppelin 45’s (because of course they did not deign to release singles in the UK), or vastly overpriced and not so good druggy LPs from the psychedelic fatso’s stall (Rainbow Ffolly, we salute you)? Or are you just drifting, browsing, going where the mood and the vinyl takes you? That’s where Utrecht scores. -
1982-07-17 Kerrville Folk Festival and JJW Birthday Bash Page 48
BB049GREENLYMONT3O MARLk3 MONTY GREENLY 0 3 I! uc Y NEWSPAPER 374 0 E: L. M LONG RE ACH CA 9 0807 ewh m $3 A Billboard PublicationDilisoar The International Newsweekly Of Music & Home Entertainment July 17, 1982 (U.S.) AFTER `GOOD' JUNE AC Formats Hurting On AM Dial Holiday Sales Give Latest Arbitron Ratings Underscore FM Penetration By DOUGLAS E. HALL Billboard in the analysis of Arbitron AM cannot get off the ground, stuck o Retailers A Boost data, characterizes KXOK as "being with a 1.1, down from 1.6 in the win- in ter and 1.3 a year ago. ABC has suc- By IRV LICHTMAN NEW YORK -Adult contempo- battered" by its FM competitors formats are becoming as vul- AC. He notes that with each passing cessfully propped up its adult con- NEW YORK -Retailers were while prerecorded cassettes contin- rary on the AM dial as were top book, the age point at which listen - temporary WLS -AM by giving the generally encouraged by July 4 ued to gain a greater share of sales, nerable the same waveband a ership breaks from AM to FM is ris- FM like call letters and simulcasting weekend business, many declaring it according to dealers surveyed. 40 stations on few years ago, judging by the latest ing. As this once hit stations with the maximum the FCC allows. The maintained an upward sales trend Business was up a modest 2% or spring Arbitrons for Chicago, De- teen listeners, it's now hurting those result: WLS -AM is up to 4.8 from evident over the past month or so. -
18 Gender, Race, and the Ma(S)King of 'Joni Mitchell'
18 Gender, race, and the ma(s)king of ‘Joni Mitchell’ kevin fellezs I thought I was black for about three years. I felt like there was a black poet trapped inside me, and [‘The Jungle Line’] was about Harlem – the primitive juxtaposed against the Frankenstein of mod- ern industrialization; the wheels turning and the gears grinding and the beboppers with the junky spit running down their trumpets. All of that together with that Burundi tribal thing was perfect. But people just thought it was weird. (joni mitchell)1 Art is short for artificial. So, the art of art is to be as real as you can within this artificial situation. That’s what it’s all about. That’s what art is! In a way, it’s a lie to get you to see the truth. (joni mitchell)2 Joni Mitchell has always been weird, even by her own account. Personifying as well as versifying the tensions, contradictions, and affinities between the footloose and the fenced-in that is a main theme running through her work, she has remained one of pop music’s enduring enigmas despite over five decades in the music business.3 By turns, she has described herself or been characterised by others as an idiosyncratic singer-songwriter, the ‘consum- mate hippy chick’, ‘Annie Hall meets urban cowgirl’, the ‘babe in bopperland, the novice at the slot machines, the tourist, the hitcher’, a poet, a painter, a reluctant yet ambitious superstar.4 Who, in fact, are we confronting in a ‘self-confessional singer-songwriter’ who withholds her ‘real’ name? Born Roberta Joan Anderson to parents preparing for a son named Robert John on November 7, 1943, the artist better known as Joni Mitchell concocted her name through a combination of youthful pretensions and her first, brief marriage. -
Docility, Resistance and the Indie Guitarist: a Foucaultian Interpretation of the Guitar- Hero Joshua Hochman
Docility, Resistance and the Indie Guitarist: A Foucaultian Interpretation of the Guitar- Hero by Joshua Hochman A thesis submitted to the Faculty o f Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree o f Masters in Music and Culture Carleton University Ottawa, Ontario ©2013 Josh Hochman Library and Archives Bibliotheque et Canada Archives Canada Published Heritage Direction du 1+1 Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-94602-2 Our file Notre reference ISBN: 978-0-494-94602-2 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distrbute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Electronics Technology Contents
CHAPTER 3 Electronics Technology Contents Page Overview o...... ... ..... o.... e..... o. 67 List of Figures Consumer Electronics . 68 Figure No. Page Semiconductors . 71 1. Simplified Diagram of TV Receiver Transistors . 72 Componentry . 69 Integrated Circuits . 72 2. Comparative Feature Sizes of System Design and the Microprocessor . 73 Microelectronic Devices Such as Microprocessors and Memory . 74 Integrated Circuits . 71 Learning Curves and Yields . 76 3. Controller for a Microwave Oven Based Integrated Circuit Design. 77 on Single-Chip Microcomputer . 75 Manufacturing Integrated Circuits . 78 4. Increases in IC Integration Level . 75 Future Developments . 81 5. Schematic Learning Curve for the Computers ● *,*,,.. ....***.. ● .*.**... 81 Production of an Integrated Circuit or Types of Computers . 82 Other Manufactured Item . 76 Computers as Systems . 83 6. Ranges in Cost and Time for Design and Computer Software . 85 Development of Integrated Circuits . 77 Growth of Computing Power . 87 7. Steps undesigning and Manufacturing an Applications of Computers . 90 Integrated Circuit . 78 8. Step-and-Repeat Process of Summary and Conclusions . 92 Photolithographic Pattern Formation on Appendix 3A-Integrated Silicon Wafer . 79 Circuit Technology . 93 9. Typical Microcomputer Intended for Personal and Small-Business Applications 84 Appendix 3B—Computer Memory . 99 10. Typical Minicomputer Installation Appendix 3C--A Process Including a Pair of Terminals and a Control Example . 102 Printer . 84 11. Data Processing Installation Built Around General-Purpose Mainframe Computer . 84 List of Tables 12. Simplified Block Diagram of a Microprocessor System . 84 Table No. Page 13. Elements of a General-Purpose Digital l. Examples of Solid-State Technologies Computer System . 85 Used in Information Processing . 72 14. -
Radiolab and the Micropolitics of Podcasting
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 8-1-2013 Sound Reason: Radiolab and the Micropolitics of Podcasting Justin M. Eckstein University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Mass Communication Commons Recommended Citation Eckstein, Justin M., "Sound Reason: Radiolab and the Micropolitics of Podcasting" (2013). Electronic Theses and Dissertations. 176. https://digitalcommons.du.edu/etd/176 This Dissertation is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. SOUND REASON: RADIOLAB AND THE MICROPOLITICS OF PODCASTING __________ A Dissertation Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy __________ by Justin M. Eckstein August 2013 Advisor: Darrin K. Hicks, PhD ©Copyright by Justin M. Eckstein 2013 All Rights Reserved Author: Justin M. Eckstein Title: SOUND REASON: RADIOLAB AND THE MICROPOLITICS OF PODCASTING Advisor: Darrin K. Hicks, PhD Degree Date: August 2013 ABSTRACT Over the past 10 years, the practice of podcasting has migrated from the margins of technological conferences to a central role in popular culture. Podcasting is an Internet-based broadcast medium that relies on Real Simple Syndication (RSS) feeds—a peer subscription service—to automatically retrieve and upload content to a portable MP3 player. In light of its growth and popularity, I ask, ―what is the podcast‘s political potential?‖ In this project, I argue that the podcast has the potential to serve as an instrument of liberal and neurological reasoning. -
"You Really Got Me": a Complete Charting Odyssey- How the Kinks Blew the Doors Off the British Invasion Against Fierce Competition and Scored Their First U.S
"You Really Got Me": A Complete Charting Odyssey- How The Kinks Blew The Doors Off the British Invasion Against Fierce Competition And Scored Their First U.S. Hit Mark Teehan May 2016 Introduction As a powerful, iconic record, "You Really Got Me" both saved and launched the Kinks' illustrious career. As a musical statement, it was the embodiment of so many forces and emotions: rage, defiance, rebellion, perseverance, and survival. Most of all, it marked the culmination of a monumental struggle by the band to have the song recorded in a manner so that it sounded as they envisioned- original and reflective of their working-class roots, the way it did in their live concerts. Musically, "You Really Got Me" represented a dichotomy of sorts: its controlled, monolithic bass-heavy, strong percussive sound was built around a monster riff that stood in sharp contrast to the wild abandon and distorted, gritty tone of Dave Davies' unique, memorable guitar solo. This essay will initially set the stage by summarizing the creation of "You Really Got Me," its recording, its sonic characteristics, and progress on the UK charts. Afterwards, we will shift to the article's primary focus of analyzing the complex charting of the Kinks' landmark record in the U.S. Using the extensive array of surviving local radio station music surveys from pivotal markets across America, this writer will analyze the intricate connection between those local surveys and the national charts as they affected "You Really Got Me". Furthermore, in order to provide valuable insight into the American pop music industry of the mid-60's and a broader perspective into the commercial progress of the Kinks' record in the U.S., this writer will cover on a secondary basis the charting of another single from a rival British group. -
TACCLE1-Libro Sobre E-Learning.Pdf
TACCLE Teachers’ Aids on Creating Content for Learning Environments The E-learning Handbook for Classroom Teachers 2TACCLE handbook TACCLE Teachers’ Aids on Creating Content for Learning Environments The E-learning Handbook for Classroom Teachers Jenny Hughes, Editor Jens Vermeersch, Project coordinator Graham Attwell, Serena Canu, Kylene De Angelis, Koen DePryck, Fabio Giglietto, Silvia Grillitsch, Manuel Jesús Rubia Mateos, Sébastián Lopéz Ojeda, Lorenzo Sommaruga, Narciso Jáimez Toro TACCLE handbook3 TACCLE THE E-LEARNING HANDBOOK FOR CLASSROOM TEACHERS BRUSSELS GO! ONDERWIJS VAN DE VLAAMSE GEMEENSCHAP 2009 IF YOU HAVE ANY QUESTIONS REGARDING THIS BOOK OR THE PROJECT FROM WHICH IT ORIGINATED: VEERLE DE TROYER AND JENS VERMEERSCH HET GO! ONDERWIJS VAN DE VLAAMSE GEMEENSCHAP - INTERNATIONALISATION DEPARTMENT EMILE JACQMAINLAAN 20 • B -1000 BRUSSEL TELEPHONE: +32 02 790 95 98 • E-MAIL: [email protected] JENNY HUGHES [ED.] 132 PP. –29,7 CM. D/2009/8479/001 ISBN 9789078398004 THE EDITING OF THIS BOOK WAS FINISHED ON THE 29TH OF MAY 2009. COVER-DESIGN AND LAYOUT: BART VLIEGEN (WWW.WATCHITPRODUCTIONS.BE) PROJECT WEBSITE: WWW.TACCLE.EU THIS COMENIUS MULTILATERAL PROJECT HAS BEEN FUNDED WITH SUPPORT FROM THE EUROPEAN COMMISSION PROJECT NUMBER: 133863-LLP-1-2007-1-BE-COMENIUS-CMP. THIS BOOK REFLECTS THE VIEWS ONLY OF THE AUTHORS, AND THE COMMISSION CANNOT BE HELD RESPONSIBLE FOR ANY USE THAT MAY BE MADE OF THE INFORMATION CONTAINED THEREIN. PROJECT COORDINATION: JENS VERMEERSCH WITH THE HELP OF VEERLE DE TROYER AND HANNELORE AUDENAERT TACCLE BY JENNY HUGHES, GRAHAM ATTWELL, SERENA CANU, KYLENE DE ANGELIS, KOEN DEPRYCK, FABIO GIGLIETTO, SILVIA GRILLITSCH, MANUEL JESÚS RUBIA MATEOS, SÉBASTIÁN LOPÉZ OJEDA, LORENZO SOMMARUGA, NARCISO JÁIMEZ TORO, JENS VERMEERSCH IS LICENSED UNDER A CREATIVE COMMONS ATTRIBUTION-NON-COMMERCIAL-SHARE ALIKE 2.0 BELGIUM LICENSE. -
Pressure Issue 4.Pdf
PRESSURE PEOPLE MEET THE PRESSURE TEAM KEVIN NAUGHTON With a degree in anthropology and a zest for history, Kevin Naughton brings a uniquely studious perspective to every article he concocts. He's a full-time bartender and a part-time activist, volunteering for political groups when he's not busy with work and his many creative endeavors. Naughton plays bass in his band the Suede Brothers, along with guitar and drums in various side PRESSURE LIFE projects. Aside from writing about politics, culture, and beyond, Naughton aims to further pursue his passion for film. Creative Director, Owner Jim Bacha Recently Naughton has transitioned from self-proclaimed film buff Chief Operating Officer, Owner John Gardner to full-on filmmaker, having completed both a full length feature and a short film, with the hopes of screening in film festivals. Editors Amy Sokolowski Sarah Maxwell Ryan Novak Art Director Hannah Allozi Illustrator Aaron Gelston WILL KMETZ Will Kmetz claims he doesn't have Senior Writers Adam Dodd any interesting facts to share, but Will Kmetz that couldn't be further from the Staff Writers Dan Bernardi truth. By day, he's a manager at the Matt McLaughlin Cleveland Brew Shop, and by night Gennifer Harding-Gosnell he zealously pursues his love for all Kevin Naughton things beer. Aside home brewing, Contributors Stephanie Ginese Kmetz's hobbies include writing, Jae Andres drinking, and writing about drinking, heavily fueling his aspirations Brittany Dobish to become a professional brewer one day. In the meantime Darrick Rutledge Casey Rearick he's shaping up to be quite the connoisseur when it comes to Anthony Franchino everyone's favorite social lubricant.