DOCSLIB.ORG

Table of Contents

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Table of Contents TABLE OF CONTENTS Video Summary & Related Content 3 Video Review 4 Before Viewing 5 While Viewing 6 Talk Prompts 8 After Viewing 11 The Story 13 Activity #1: Analyzing World Issues in M.I.A.’s Music 23 Activity #2: Silenced Political Bands Campaign 24 Sources 26 CREDITS News in Review is produced by Visit www.curio.ca/newsinreview for an archive of all CBC NEWS and curio.ca previous News In Review seasons. As a companion resource, go to www.cbc.ca/news for additional GUIDE articles. Writer: Chris Coates Editor: Sean Dolan CBC authorizes reproduction of material contained VIDEO in this guide for educational purposes. Please Host: Michael Serapio identify source. Senior Producer: Jordanna Lake News In Review is distributed by: Packaging Producer: Marie-Hélène Savard curio.ca | CBC Media Solutions Associate Producer: Francine Laprotte Supervising Manager: Laraine Bone © 2019 Canadian Broadcasting Corporation MAYA/MATHANGI/M.I.A. – The Making of a Political Pop Star Video duration – 9:06 Mathangi Maya Arulpragasam — known simply now as M.I.A. — is an acclaimed Sri Lankan-Tamil rapper pop star from England. Always controversial, she is an outspoken activist, who uses her fame as a platform to express her political views, particularly about the Tamil crisis in Sri Lanka. Film director Stephen Loveridge put together a documentary of the artist’s life which includes a slew of footage shot by Maya herself over the past 22 years. It follows her from her early years in Sri Lanka, growing up in London and her rise to fame. The National’s host Adrienne Arsenault takes a look at the life of this controversial music artist at the release of her documentary in North America. RELATED CONTENT • Canada Reads 2018: Sharon Bala on The Boat People • Interrupt This Program series (on art as a form of protest around the world) • News in Review, October 2010 – The Tamil Boat People Controversy • News in Review, December 1995 – Sri Lanka: Cornering the Tigers? curio.ca/newsinreview / 3 VIDEO REVIEW curio.ca/newsinreview / 4 BEFORE VIEWING As a class or in small groups, consider the following questions: 1. What is the purpose of art — whether we are talking about a painter, a writer or a musician? What role should artists play in society? 2. U.S. writer and liberal political activist Norman Mailer famously said, “The final purpose of art is to intensify, even, if necessary, to exacerbate the moral consciousness of people.” To what extent do you agree with Mailer’s position? How can art influence society’s perception of right and wrong? 3. Is it acceptable for popular music to be overtly political? Brainstorm some examples of popular artists whose music and lyrics comment on important world issues. Maya/Mathangi/M.I.A. – The Making of a Political Pop Star curio.ca/newsinreview / 5 WHILE VIEWING 1. When did Mathangi Maya Arulpragasam (M.I.A.) break onto the music scene? a) 2018 b) 2004 c) 2010 d) 2012 2. M.I.A.’s father was one of the founders of the early Tamil resistance movement, leading up to the 25-year Sri Lankan Civil War. TRUE or FALSE 3. What inspired Arulpragasam to adopt the stage name ‘M.I.A.’? a) She felt the Sri Lankan government was neglecting its responsibilities for its citizens. b) Her family suggested it. c) She received news that her cousin had gone “missing-in-action” in the Sri Lankan Civil War. d) It’s an acronym for “Maya in Action.” 4. There is an ongoing ethnic conflict in Sri Lanka . TRUE or FALSE Maya/Mathangi/M.I.A. – The Making of a Political Pop Star curio.ca/newsinreview / 6 5. In Steven Loveridge’s documentary Matangi/Maya/M.I.A., why doesn’t she visit her childhood home in Jaffna, Sri Lanka?? a) The Israeli army had taken control of the city. b) It was too costly and inconvenient. c) She was too afraid. d) The government was bombing the area daily. 6. Why was M.I.A.’s video for the song Born Free temporarily banned on YouTube? a) It contains scenes of graphic executions in Sri Lanka. b) It portrays the persecution of Tamils through discrimination against redheaded Americans. c) Arulpragasam faces the camera and gives “the middle finger.” d) She challenges Brexit, the United Kingdom’s initiative to exit the European Union. 7. How does M.I.A. respond to criticism that her creativity is too political? a) She doesn’t care because her art reflects experiences. b) She has started working on an album of love songs. c) Her manager promised fans that she would “tone it down.” d) She has been discouraged from continuing to make music. Maya/Mathangi/M.I.A. – The Making of a Political Pop Star curio.ca/newsinreview / 7 TALK PROMPTS curio.ca/newsinreview / 8 TALK PROMPT #1 Consider pausing the video and giving students the opportunity to talk to an elbow partner for a few minutes or use these questions as part of a class discussion. Pause the video after the clip of M.I.A. giving the middle finger at Super Bowl LVXI, @ 1:52 1. What do you think motivated M.I.A. to use this gesture at such a high profile event? 2. What do you think her message might have been? 3. Should she be punished for her actions? Why or why not? Maya/Mathangi/M.I.A. – The Making of a Political Pop Star curio.ca/newsinreview / 9 TALK PROMPT #2 Pause the video after the clip of M.I.A. explaining her migration to England, @ 03:57 1. What challenges would Mathangi have faced as a 10-year-old Tamil in London? 2. What sort of impact do you think this experience had on her? TALK PROMPT #3 Let the video play through until the end: 1. M.I.A. says she is often criticized for the subject matter in her music. In your view, does her frequent reference to the immigrant experience affect her creativity or the quality of her music? 2. Should she be exploring more universal themes as a popular artist? Maya/Mathangi/M.I.A. – The Making of a Political Pop Star curio.ca/newsinreview / 10 AFTER VIEWING 1. To what extent has the information in the video changed your perception of the role of the artist in society and the intersection of politics and popular music? Explain your reasoning. 2. Do artists and celebrities have a moral duty to use their position to raise public awareness on social issues? Why or why not? Maya/Mathangi/M.I.A. – The Making of a Political Pop Star curio.ca/newsinreview / 11 If Drake ‘started [from] the bottom,’ I started in the abyss – M.I.A. (Mathangi "Maya" Arulpragasam) THE STORY Minds On In your group, conduct TOPICS research under your This activity will provide you Group 1 – Key Figures assigned topic and record with some background Group 2 – Causes your findings in the Google knowledge regarding the Sri doc. Group 3 – Timeline of events Lankan Civil War. Your teacher will: Share your findings with the Group 4 – Photos & captions Group 5 – Consequences • Divide the class into groups class in a presentation of (political, economic, social, of four or five approximately five to seven minutes. cultural) • Assign each group a topic Group 6 – International • Create a shared Google doc response & activism the class can access (or wall chart) featuring the chart on the following page. Maya/Mathangi/M.I.A. – The Making of a Political Pop Star curio.ca/newsinreview / 13 SRI LANKAN CIVIL WAR 1. Key figures 2. Causes 3. Timeline of events 4. Photos & captions 5. Consequences 6. International response & activism Maya/Mathangi/M.I.A. – The Making of a Political Pop Star curio.ca/newsinreview / 14 M.I.A.: Alt-pop agitator sought asylum She had defied the odds to over a decade become an emerging visual earlier. Suddenly, artist and filmmaker the day she felt compelled she graduated art school in to return to Sri 2000. Then, Mathangi “Maya” Lanka in search of Arulpragasam got a phone call Janna. What began that changed her life. Her as a quest to find favourite cousin, Janna, had her lost cousin explosive voices in mainstream gone ‘M.I.A.’ (missing-in- became an origin story — the music today. action) in Sri Lanka’s ongoing coming of age of M.I.A., three- Mathangi’s loss of innocence civil war. Overcome by guilt time Grammy nominee and about her relative privilege, leading alt-pop agitator, M.I.A. comes by her politics Maya felt a sudden strong whose spirited protest and honestly. She was less than a connection to the homeland avant-garde earworms have year old when her father, Arul from which her family had made her one of the most Pragasam, moved their family Maya/Mathangi/M.I.A. – The Making of a Political Pop Star curio.ca/newsinreview / 15 from London to Jaffna, where and helped found the Eelam father, who was introduced to ethnic minority Tamil Hindus Revolutionary Organisation of her as her uncle to keep his were being persecuted and Students (EROS). location a secret. “If Drake murdered by the Buddhist ‘started [from] the bottom’, I Arular’s activism contributed Sinhalese majority to a volatile childhood for started in the abyss,” she says government. Arul joined the of her youth. As the ethnic war Mathangi — one marked by fight for an independent Tamil escalated, the Arulpragasam gunfire drills at school, hiding state in northern Sri Lanka, from the government, and family moved back-and-forth adopting the war name Arular, in derelict housing between Sri infrequent contact with her Lanka and India before settling M.I.A.’s father, Arul Pragasam, was a political activist and one of as refugees in London in 1985.
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Chichen Itza 6 Tourism YUCATAN | 7 Location Yucatan Is Located in Southeastern Mexico, in the GEOGRAPHY Northern Part of the Yucatan Peninsula
    SALES CATALOGUE Y U C ATA N THE BEGINNING OF A NEW BAKTUN WELCOME TO YUCATaN The beginnings and origin of who we are today was born in the land of the Maya, the Mayab, with the ancient Maya civilization to which we belong and whose ancient heritage fills us with pride. Humanity in the 21st century searches to reconnect with ourselves, to become reconciled with nature and learn from their peers. We are on a quest to encounter ancient civilizations, new landscapes, new seas, new traditions, new experiences... In YUCATAN we offer the possibility of communion by virtue of our extraordinary heritage, where we have the opportunity to learn, preserve, share and enjoy the cultural, natural and tourist wealth that we possess. At the start of a new Baktun, or long-count cycle in the Maya calendar, we offer a myriad of options for recreation, leisure, knowledge, reflection, peace, health, adventure, andcoexistence throughout the length and width of the Yucatan... YUCATAN is land of origins: It is a land where everything begins anew. It is a prodigious land within the reach of travelers from the world over who seek to know and live among a culture that is more live than ever: The Maya Culture. We are heirs of this great wealth, which we should, want and wish to share with all of you and future generations. WELCOME TO YUCATAN Rolando Rodrigo Zapata Bello Governor of the State of Yucatan MAYAN MUSEUM OF MERIDA 2 Tourism YUCATAN | 3 CREDITS Rolando Zapata Bello Governor of the State of Yucatan Saul M.
    [Show full text]
  • Bibliography
    Bibliography Absolute Lyrics (n.d.) ‘Galang – M.I.A.’, accessed 25 October 2012, absolutelyrics.com/lyrics/view/m.i.a./ galang/. Anderson, Jon Lee (2011) ‘Death of the Tiger’, The New Yorker, 17 January, accessed 3 March 2014. newyorker. com/magazine/2011/01/17/death-of-the-tiger/. Anderson, Sean and Jennifer Ferng (2013) ‘No Boat: The Architecture of Christmas Island’ Architectural Theory Review 18.2: 212–226. Appadurai, Arjun (1993) ‘Number in the Colonial Imagination’, in C.A. Breckenridge & P. van der Veer, eds. Orientalism and the Postcolonial Predicament (Philadelphia: University of Pennsylvania Press) 314–39. _______. (2003) ‘Disjuncture and Difference in a Global Economy’ in Jana Evans Braziel & Anita Mannur, eds. Theorizing Diaspora (London: Blackwell) 25–48. Arasanayagam, Jean (2009) ‘Rendition’, Sunday Times (Sri Lanka) August 3 2008, accessed 20 January 2010 http://www.sundaytimes.lk/080803/Plus/ sundaytimesplus_01.html. Arulpragasam, Mathangi Maya (2012) M.I.A. (New York: Rizzoli). Auden, W.H. (1976) Collected Poems. Edited by E. Mendelson (London: Faber & Faber). Australian (2007) ‘Reaching for Dog Whistle and Stick’, editorial, 2 August. Balasingham, Adele Ann (1993) Women Fighters of Liberation Tigers (Jaffna: LTTE). DOI: 10.1057/9781137444646.0014 Bibliography Balint, Ruth (2005) Troubled Waters (Sydney: Allen & Unwin). Bastians, Dharisha (2015) ‘In Gesture to Tamils, Sri Lanka Replaces Provincial Leader’, New York Times, 15 January, http://www. nytimes.com/2015/01/16/world/asia/new-sri-lankan-leader- replaces-governor-of-tamil-stronghold.html?smprod=nytcore- ipad&smid=nytcore-ipad-share&_r=0. Bavinck, Ben (2011) Of Tamils and Tigers: A Journey Through Sri Lanka’s War Years (Colombo: Vijita Yapa and Rajini Thiranagama Memorial Committee).
    [Show full text]
  • Borderlands E-Journal
    borderlands e-journal www.borderlands.net.au VOLUME 11 NUMBER 1, 2012 Missing In Action By all media necessary Suvendrini Perera School of Media, Culture & Creative Arts, Curtin University This essay weaves itself around the figure of the hip-hop artist M.I.A. Its driving questions are about the impossible choices and willed identifications of a dirty war and the forms of media, cultural politics and creativity they engender; their inescapable traces and unaccountable hauntings and returns in diasporic lives. In particular, the essay focuses on M.I.A.’s practice of an embodied poetics that expresses the contradictory affective and political investments, shifting positionalities and conflicting solidarities of diaspora lives enmeshed in war. In 2009, as the military war in Sri Lanka was nearing its grim conclusion, with what we now know was the cold-blooded killing of thousands of Tamil civilians inside an official no-fire zone, entrapped between two forms of deadly violence, a report in the New York Times described Mathangi ‘Maya’ Arulpragasam as the ‘most famous member of the Tamil diaspora’ (Mackey 2009). Mathangi Arulpragasam had become familiar to millions across the globe in her persona as the hip-hop performer M.I.A., for Missing in Action. In the last weeks of the war, she made a number of public appeals on behalf of those trapped by the fighting, including a last-minute tweet to Oprah Winfrey to save the Tamils. Her appeal, which went unheeded, was ill- judged and inspired in equal parts. It suggests the uncertain, precarious terrain that M.I.A.
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).
    [Show full text]
  • Professors to Discuss War Issues
    NONPROFIT ORGANIZATION WITH NINE QUARTERBACKS, THERE WILL BE A FIGHT TO START PAGE 4 U.S. POSTAGE BATTLE FOR THE BALL: PAID BAYLOR UNIVERSITY ROUNDING UP CAMPUS NEWS SINCE 1900 THE BAYLOR LARIAT FRIDAY, FEBRUARY 8, 2008 Professors Keston to discuss Institute war issues unveils An open dialogue led by Baylor religious alum and Dr. Ellis to talk about Christian perspectives abuse By Stephen Jablonski Reporter A collection of When Dr. Marc Ellis, director of the Center communist memorabilia for Jewish Studies and universtiy professor, put on display in mentioned a lack of discussion on the moral dilemma of war in Christianity last semester, Carroll Library the notion rang true with Baylor alumnus Adam Urrutia. This proposal culminated a presentation and discussion of topics relevant By Anita Pere to Christians in a world at war. Staff writer Baylor professors will discuss “Being Chris- tian in a Nation at War … What Are We to Say?” Oppression resonates at 3:30 p.m. Feb. 12 in the Heschel Room of through history as a bruise on the Marrs McLean Science Building. Co-spon- the face of humanity. sored by the Center for Jewish Studies and Many of the world’s citi- the Institute for Faith and Learning, the event zens, grappling with constantly was first conceived by Urrutia, who, Ellis said, changing political regimes and took the initiative to organize the discussion. civil unrest, have never known “This issue is particularly close to what I’m civil liberties. interested in,” Urrutia said. “I’m personally a But one cornerstone of all pacifist and I thought this would be a good societies has survived the test opportunity to discuss this with people.” Associated Press of oppression: religion.
    [Show full text]
  • Sound Matters: Postcolonial Critique for a Viral Age
    Philosophische Fakultät Lars Eckstein Sound matters: postcolonial critique for a viral age Suggested citation referring to the original publication: Atlantic studies 13 (2016) 4, pp. 445–456 DOI http://dx.doi.org/10.1080/14788810.2016.1216222 ISSN (online) 1740-4649 ISBN (print) 1478-8810 Postprint archived at the Institutional Repository of the Potsdam University in: Postprints der Universität Potsdam Philosophische Reihe ; 119 ISSN 1866-8380 http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-98393 ATLANTIC STUDIES, 2016 VOL. 13, NO. 4, 445–456 http://dx.doi.org/10.1080/14788810.2016.1216222 Sound matters: postcolonial critique for a viral age Lars Eckstein Department of English and American Studies, University of Potsdam, Potsdam, Germany ABSTRACT KEYWORDS This essay proposes a reorientation in postcolonial studies that takes Sound; M.I.A.; Galang; music; account of the transcultural realities of the viral twenty-first century. postcolonial critique; This reorientation entails close attention to actual performances, transculturality; pirate their specific medial embeddedness, and their entanglement in modernity; Great Britain; South Asian diaspora concrete formal or informal material conditions. It suggests that rather than a focus on print and writing favoured by theories in the wake of the linguistic turn, performed lyrics and sounds may be better suited to guide the conceptual work. Accordingly, the essay chooses a classic of early twentieth-century digital music – M.I.A.’s 2003/2005 single “Galang”–as its guiding example. It ultimately leads up to a reflection on what Ravi Sundaram coined as “pirate modernity,” which challenges us to rethink notions of artistic authorship and authority, hegemony and subversion, culture and theory in the postcolonial world of today.
    [Show full text]
  • Being Heard Being Heard Being Me Freedom
    beingbeing heardheard•• being me•• freedom dignity••power words that burn A resource• •to wordsenable young peoplethat to burn explore human rights and self-expression through poetry. ‘ Poetry is thoughts that breathe and words that burn.’ THOMAS GRAY Introduction Poetry and spoken word are powerful ways to understand and respond to the world, to voice thoughts and ideas, to reach into ourselves and reach out. ‘Josephine Hart described Human rights belong to all of us but are frequently denied or abused even poetry as a route map through in the UK. Poets are often the first to articulate this in a way to make us life. She said “Without think and to inspire action. Perhaps this explains why they’re often among the first to be silenced by oppressive regimes. poetry, life would have Amnesty International is the world’s largest human rights organisation been less bearable, less with seven million supporters. We’ve produced this resource to enable comprehensible and infinitely young people to explore human rights through poetry whilst developing their voice and skills as poets. less enjoyable”. It would be The resource was inspired by the poetry anthology Words that Burn her sincere wish that this curated by Josephine Hart of The Poetry Hour, which in turn was inspired by Amnesty resource will prove the words of Thomas Gray (cover). The essence of these words shaped this to be first steps on a happier resource, which aims to provide the creative oxygen to give young people the confidence to express themselves through poetry, to stand up and make journey through life for many.
    [Show full text]
  • MIA Matangi Mp3, Flac
    M.I.A. Matangi mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Hip hop / Rock Album: Matangi Country: UK Released: 2013 Style: Electroclash MP3 version RAR size: 1750 mb FLAC version RAR size: 1155 mb WMA version RAR size: 1983 mb Rating: 4.7 Votes: 637 Other Formats: WMA VQF RA ADX FLAC AU MP4 Tracklist Hide Credits Karmageddon Engineer – Neil ComberMastered By – Geoff PescheMixed By – M.I.A. , Neil 1 1:34 ComberProducer – M.I.A. , Doc McKinney*, Switch Written-By – Dave Taylor, Martin "Doc" McKinney*, Maya Arulpragasam, Sugu Arulpragasam Matangi 2 Engineer – Neil ComberMastered By – Geoff PescheMixed By – Neil Comber, Switch 5:12 Producer – Switch Written-By – Dave Taylor, Maya Arulpragasam Only 1 U Engineer – Neil ComberMastered By – Geoff PescheMixed By – Surkin, Switch Producer – 3 3:12 M.I.A. , So Japan, Surkin, Switch Written-By – Dave Taylor, Kyle Edwards, Maya Arulpragasam Warriors 4 Engineer – Haze BangaMastered By – Mazen MuradMixed By – Hit-Boy, M.I.A. Producer – 3:41 Hit-Boy, K. Roosevelt*Written-By – Chauncey Hollis, Maya Arulpragasam Come Walk With Me 5 Engineer, Guitar, Mixed By – Neil ComberMastered By – Geoff PescheMixed By – Switch 4:43 Producer – M.I.A. , Switch Written-By – Dave Taylor, Maya Arulpragasam aTENTion 6 Engineer – Neil ComberMastered By – Mazen MuradMixed By – M.I.A. , Switch Producer – 3:40 Switch Written-By – Dave Taylor, Maya Arulpragasam Exodus Engineer – Neil ComberFeaturing – The WeekndMastered By – Geoff PescheMixed By – 7 5:08 M.I.A. , Switch Producer – Illangelo, M.I.A. , Doc McKinney*, The WeekndWritten-By – Abel Tesfaye, C. Montagnese*, Martin "Doc" McKinney*, Maya Arulpragasam Bad Girls Engineer – Marcella "Incredible Lago" Araica*Mastered By – Geoff PescheMixed By – 8 3:47 Marcella "Ms.
    [Show full text]
  • Deutsche Nationalbibliografie 2015 T 09
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2015 T 09 Stand: 23. September 2015 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2015 ISSN 1613-8945 urn:nbn:de:101-ReiheT09_2015-6 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • PRESSEHEFT Kinostart
    PRESSEHEFT Kinostart: 22. November 2018 Im Verleih von Rapid Eye Movies INHALT Credits / Filmdaten ....................................................................................................................... 3 Synopsis ....................................................................................................................................... 4 Bio-/Filmografie Regie .................................................................................................................. 4 Über die Produktion und die besondere Beziehung zwischen M.I.A. und Steve Loveridge ........ 5 Über das Team .............................................................................................................................. 9 Songliste des Films ........................................................................................................................ 9 Pressestimmen ........................................................................................................................... 15 Kontakte ..................................................................................................................................... 16 2 MATANGI / MAYA / M.I.A. Ein Film von Steve Loveridge CREDITS Regie & Produktion: Steve Loveridge Mit: Maya Arulpragasam Kamera: Graham Boonzaaier, Catherine Goldsmith, Matt Wainwright Schnitt: Marina Katz, Gabriel Rhodes Musik: Dhani Harrison, Paul Hicks Music Supervisor: Tracy McKnight Sound Design: Ron Bochar Produzenten: Lori Cheatle, Andrew Goldman, Paul Mezey Ausführende Produzenten:
    [Show full text]
  • Students Shun ‘Sexist’ Show
    fb.com/warwickboar twitter.com/warwickboar theStudentboar Publication of the Year 2013 Wednesday 4th December, 2013 Est. 1973 | Volume 36 | Issue 5 Without a The perfect Student paddle (or shirt) curry formula theatre deals p. 10 p. 29 p. 30 TV page 27 MONEY page 15 BOOKS page 16 TRAVEL page 24 Doctor Who: an overseas view Writing competition winners The best Christmas reads Where to visit over the holidays Typhoon Haiyan student support Students shun ‘sexist’ show Derin Odueyungbo The University of Warwick has responded to Typhoon Haiyan, which struck the Philippines on Friday 8 November and then north Vietnam on Monday 11 No- vember. Warwick has said that it will “commit itself to proving a sup- portive and positive environment” for those who have been affected by the disaster. There are a number of ways stu- dents can donate towards support- ing people in the Philippines. Students and staff directly af- fected by the recent disaster are en- couraged to take advantage of the University’s support services. Warwick society Oxfam Out- reach held bucket collections in the Bread Oven and Curiositea last week. Unicef on Campus were at Un- plucked in the Dirty Duck on » Kasbah Nightclub, previously known as the Colly, is a favourite with many students at Warwick University. Photo: Localjapantimes / Flickr Tuesday 26 November, collecting donations for those affected by the undergraduate, member of the made the girls and the boys do was “After receiving complaints, he typhoon. Ann Yip campaign and member of the War- laughable.” has now parted ways with the Kas- Mrin Chatterjee, president of wick Anti-Sexism Society (WASS).
    [Show full text]