DOCSLIB.ORG

Kwamera Dictionary Nikukua Sai Nagkiariien Nininife

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kwamera Dictionary Nikukua Sai Nagkiariien Nininife PACIFIC LINGUISTICS Series C - No. 95 KWAMERA DICTIONARY NIKUKUA SAl NAGKIARIIEN NININIFE by Lamont Lindstrom Department of Linguistics Research School of Pacific Studies THE AUSTRALIAN NATIONAL UNIVERSITY Lindstrom, L. Kwamera dictionary Nikukua sai nagkiariien nininife. C-95, x + 204 pages. Pacific Linguistics, The Australian National University, 1986. DOI:10.15144/PL-C95.cover ©1986 Pacific Linguistics and/or the author(s). Online edition licensed 2015 CC BY-SA 4.0, with permission of PL. A sealang.net/CRCL initiative. PACIFIC LINGUISTICS is issued through the Linguistic Circle of Canberra and consists of four series: SERIES A - Occasional Papers SERIES B - Monographs SERIES C - Books SERIES D - Special Publications EDITOR: S.A. Wurm ASSOCIATE EDITORS: D.C. Laycock, C.L. Voorhoeve, D.T. Tryon, T.E. Dutton EDITORIAL ADVISERS: B.W. Bender K.A. McElhanon University of Hawaii Summer Institute of Linguistics David Bradley H.P. McKaughan La Trobe University University of Hawaii A. Capell P. MUhlhiiusler University of Sydney Linacre College, Oxford Michael G. Clyne G.N. O'Grady Monash University University of Victoria, B.C. S.H. Elbert A.K. Pawley University of Hawaii University of Auckland K.J. Franklin K.L. Pike Summer Institute of Linguistics Summer Institute of Linguistics W.W. Glover E.C. Polome Summer Institute of Linguistics University of Texas G.W. Grace Malcolm Ross University of Hawaii Australian National University M.A.K. Halliday Gillian Sankoff University of Sydney University of Pennsylvania E. Haugen W.A.L. Stokhof Harvard University University of Leiden A. Healey B.K. T'sou Summer Institute of Linguistics City Polytechnic of Hong Kong L.A. Hercus E.M. Uhlenbeck Au�tralian National University University of Leiden Nguyen f>ling Liem J.W.M. Verhaar University of Hawaii Divine Word Institute, John Lynch Madang University of Papua New Guinea All correspondence concerning PACIFIC LINGUISTICS, including orders and subscriptions, should be addressed to: The Secretary PACIFIC LINGUISTICS Department of Linguistics Research School of Pacific Studies The Australian National University G.P.O. Box 4, Canberra, A.C.T. 2601 Australia Copyright @ The Author First Published 1986 Typeset by Ling Matsay Maps drawn by Theo Baumann Printed by A. N.U. Printing Service Bound by Adriatic Bookbinders Pty Ltd The editors are indebted to the Australian National University for assistance in the production of this series This publication was made possible by an initial grant from the Hunter Douglas Fund ISSN 0078-7558 ISBN 0 85883 340 9 TABLE OF CONTENTS page LOCATION MAP iv GENERAL INFORMATION v KWAMERA - ENGLISH 1 ENGLISH INDEX 141 BIBLIOGRAPHY 195 iii iv 15' " .,\ \.�. ... VANUATU ' • , 19' Tanna .. 169' • 20' 30' 20' 30' s TANNA uninhabited o, 5, 10, Kilometres 169' 30' E TANNA LAN GUAGES GENERAL INTRODUCTION Kw amera is the language of approximately 2000 people who live on the south-east and south coasts of the island of Tanna , Vanuatu . Nineteenth century mission­ aries named this language after the site of an early mission station . Speakers of the language today ordinarily call it Nfninffe, or Nffe (saying what, or what). Pioneer missionary linguists produced a body of religious and educa­ tional material in Kwamera (e.g. A. watt 1890; w. Watt 1880, 1890, 1919) but never attempted a comprehensive dictionary . (Ferguson 1918:22 notes that watt published an English dictionary on Tanna in 1887 but as no copies of this work have been found , it is not known whether this was bilingual .) Kwamera is the most different of five related Tanna languages. The language area extends from Iasur volcano in the east down and around the southern tip of the island to Karimasaga Point , immed iately to the north of Green Point . In an area characterised by dialect chains , it is often mi sleading to map linguistic boundaries . The Tannese themselves, however , concerned with the value and distinctiveness of their languages, recognise geographic bounds which separate Kw amera from White Sands language to the north , and from South-west Tanna language to the west. Tradition situates the northern boundary in the centre of Ipikil village on Sulphur Bay . Two stones lie side-by-side near the sea: the northerly named Narhak (the local name for White Sands language) ; the southerly named N�fe . Karimasaga Point simi larly marks a socially-recognised (if not actual ) linguistic boundary between Kw amera and South-west Tanna (see map ) . This dictionary is a by-product of an initial twenty-two months period of anthropological fieldwork in Vanuatu during 1978 and 1979 . I returned to Tanna in 1982 and again in 1983 for a subsequent six mo nths linguistic research . Tannese languages all subsume a number of village and area microdialects . In the main , dialectal difference is lexical rather than phonological or gramma­ tical . A set of key dialectical cognates serves to identify or situate a speaker as resident of a particular village or place within his language area. Speakers of each microdialect judge their own linguistic style to be mo st correct and pleasing. I collected the greater part of the data on which this dictionary is based from the vil lage of Samaria (Iankahar) . I include , however , those alternate forms which people ordinarily remark as having mo st symbolic value in demonstrating a person 's affiliation with one of four other regions in the language area. These are Port Resolution , Imaki , Kw amera (the southern coast) , and what is here called the 'mountain area ' (villages situated in the hills west of Samaria). The dictionary is in no sense dialectically complete , however . Because of the accident of research site selection , it must be considered Samaria-centric. v vi The dictionary is organised to complement the recent , more detailed and exten­ sive linguistic research and description of Tanna languages by Lynch (1977, 1978a, 1982) and Tryon (1976) . Kw amera grammar is substantially similar to that of the Lenakel and South-west Tanna languages ; this dictionary may be used in conj unction with Lynch 's grammars of these two languages . I mean this dictionary partially to repay the welcome , friendship , and assist­ ance given me by the people of South-east Tanna . This is only a preliminary accounting of Kwamera. I expect linguistically trained Kw amera speakers, in the very near future , to record in more accurate detail the breadth and complexity of their language . I hope that this dictionary might provide them a starting point in their task . ORGAN ISATION This dictionary takes as its model Lynch 's Lenakel (1977) and South-west Tanna (1982) lexicons . As such , it contains two sections . The first lists Kw amera words with English glosses and the gross grammatical categories to which they belong . A number of phrases , idioms , and sentences illustrate range of meaning and usage for many of these words . Illustrative sentences , in so far as this was possible, were taken from everyday conversational interaction . A second section serves as an English index to the first. ORTHOGRAPHY The Kwamera alphabet contains the following 21 letters : a, e, f, fw, g, h, i, i, k, kw, m, mw, n, 0, p, pw, r, 5, t, U, V. Kwamera phonology is generally similar to that of South-west Tanna and Lenakel. Readers may refer to Lynch (1978a, 1982) for the details of phonological rules . The following pronunci­ ation guide , however , represents the basics of the Kwamera phonological system . a sounds like a in English fa ther. e sounds like e in English pet . f sounds like f in English foot. fw sounds like fw in English of wh ich. 9 sounds like ng in English ring. h sounds like h in English house. When h comes after g, m, mw, n, r, or v, the preceding sound is devoiced (whispered) . between consonants sounds like i in English win; next to a vowel sounds like y in English yet. i sounds like e in English fa ther. k at the beginning or end of a word sounds like k in English ki ll; in the middle of words sounds like 9 in English ago . kw at the beginning or end of a word sounds like kw in English back way; in the middle of words sounds like gw in English dogwood. m sounds like m in English mother . mw sounds like mw in English tramway . n sounds like n in English net . o sounds like 0 in English open . p at the beginning or end of a word sounds like p in English pi g; in the middle of words sounds like b in English table . vii pw at the beginning or end of a word sounds like pw in English up wi th; in the middle of words sounds like bw in English bobwhi te. r is flapped at the beginning and middle of words and trilled at the end . s sounds like s in English sea . t at the beginning or end of a word sounds like t in English tablet; in the middle of words sounds like d in English ladder. U between consonants sounds like u in English push; next to a vowel sounds like w in English west. v has no corresponding sound in English ; similar to w but with the lips spread rather than rounded . The above orthographic system is based for comparison on earlier work by Lynch . A Tanna orthographic commi ttee is presently devising an alphabet to be used primarily for educational material . The committee has made a number of preli­ minary decisions and the following substitutions may be made for the above symbols : , e e + e , fw f mw m 9 ng pw p y (when next to a vowe l) u w (next to a vowel) Stress generally occurs on the second last syllable of a word .
Load more

Recommended publications
  • How to Market Music to Gen-Z: Current Tips & Future Trends PAGE 2 2020 WHAT a YEAR, HUH?
    How To Market Music To Gen-Z: Current Tips & Future Trends PAGE 2 2020 WHAT A YEAR, HUH? HERE AT FANBYTES WE'VE BEEN KEEPING AN EYE ON THINGS AND A LOT HAS CHANGED... 2020, the year of coronavirus, the shutting of venues and the cancelling of festivals. It's been an unprecedented time for all of us but particularly trying for us working in music. As we come out of the other side of summer we wanted to share with you some of the biggest trends across social media from over the summer, some of our most recent standout campaigns, a few tips and tricks on how to market to Gen-Z and finally our two cents on some of the coming future trends that you can tap into. PAGE 3 TIPS & TRICKS FOR MARKETING MUSIC TO GEN-Z PAGE 4 TIPS & TRICKS FOR MARKETING MUSIC TO GEN-Z UNDERSTAND YOUR AUDIENCE Gen Z refers to people born between 1995 and 2009. They’re called ‘digital natives’, having grown up with the internet around them. Gen Z’s environment shapes their preferences: 66% of them use more than one internet device at a time, 75% strongly prefer their smartphone to other devices and the average Gen Z’er spends 10 and a half hours online daily. They spend 23 hours a week online watching video content, and prefer short- form content on TikTok or YouTube. Feeling the pressure to be perfect on Instagram, Gen Z are looking for other ways to connect online, leading to younger audiences on networks like TikTok and Snapchat.
    [Show full text]
  • Social Media: Reaching Your Residents, Staying in Bounds
    AUGUST 13, 2021 FLORIDA LEAGUE OF CITIES SOCIAL MEDIA REACHING RESIDENTS & STAYING IN BOUNDS RANDY D. MORA, ESQ., B.C.S. 1001 South Fort Harrison Ave., Ste. 201 Clearwater, Florida 33756 PUBLIC RECORDS LAW • 2003: debuts TECHNOLOGICAL TIMELINE • 2004: debuts to college students • 2005: is founded; launches • 2006: (originally Twttr) debuts; acquires ; profitable • 2007: debuts in marketplace • 2009: debuts Recent Newcomers Fallen from relevance or existence • 2010: debuts Caffeine LiveJournal (1999 - ???) • 2011: debuts; debuts; debuts Clubhouse StumbleUpon (2001 – 2018) Houseparty Friendster (2002 -2015) • 2012: acquires Instagram Reels MySpace (2003 - ???) Parler Digg (2004 – 2012) • 2014: acquires Twitter Spaces Google+ (2011- 2019) Triller • 2015: launches to public Vine (2012 – 2016) Musical.ly (2014 – 2017) Meerkat (2015 – 2016) 2016: launches YikYak (2013-2017) ISSUES CREATED BY SOCIAL MEDIA GENERALLY PUBLIC RECORDS • IS IT A PUBLIC RECORD? WHO IS THE CUSTODIAN? HOW LONG DO YOU KEEP IT? SUNSHINE LAW • ARE YOU HAVING A MEETING? CIVIL LAW EXPOSURE • ACCESS TO GOVERNMENT, FREEDOM OF SPEECH, CONSTITUTIONAL CONCERNS, DEFAMATION Tradition ◆ Values ◆ Service ISSUES CREATED BY SOCIAL MEDIA PUBLIC RECORDS LAW Is it a public record? • “Public records” means all documents . regardless of the physical form- Section 119.011 (12), Fla. Stat. Definitions • As each agency increases its use of and dependence on electronic recordkeeping, each agency must provide reasonable public access to records electronically maintained and must ensure that exempt or confidential records are not disclosed except as otherwise permitted by law. - Section 119.01 (2) (a), Fla. Stat., General State Policy on Public Records “[A]ny material prepared in connection with official agency business which is intended to perpetuate, communicate, or formalize knowledge of some type.” Shevin v.
    [Show full text]
  • Changing Role of INFLUENCERS
    SOCIAL LIKEMEDIA NEVER BEFORE: HOW BRANDS CAN NAVIGATE 2021 INTRO “You don’t need us to tell you this year’s been like no other. It will have lasting implications on all our futures, and social media has played a key role. It’s never been more instrumental in keeping us in touch, entertained and able to buy what we need (or want) and as a result of consumer behaviour changes and ultrafast platform developments, the world of social media has exploded. To say it’s a new world is wrong; it’s a new universe; comprising new cultures, new languages, and new players from political activists to gamers. With the wrong pilot you will crash and burn. For brands, this can be daunting, but the temptation to either run blindly away from 2020 or to attempt some version of 2019’s business of usual must be avoided. Social will mean something very different to your target consumers next year, but it’s never been a more important channel with which to reach them.” Danielle Smith, Managing Director, Communicator SOCIAL EVOLUTIONS GAMING: THE NEW SOCIAL MEDIA CONNECTING & DISCONNECTING CHANGING ROLE OF INFLUENCERS ACTION AND INFORMATION RISE OF SOCIAL COMMERCE Social EVOLUTIONS The 87% of FACTS TIKTOK USERS think Instagram Reels is ‘basically the same’ but Social is constantly evolving, which can mean constantly that doesn’t mean it’s enough to make them switch contradicting itself. For example, you could say this has been a big year for sound-on content. Audio drives trends on TikTok, Image source : Clubhouse-social-chat voice notes launched on Twitter and Clubhouse, an audio- based discussion app, lets users spontaneously join voice chat rooms.
    [Show full text]
  • Nate Robinson Vs Jake Paul Will Serve As the Co-Main Event for Mike Tyson Vs Roy Jones Jr
    FIGHT OVERVIEW Nate Robinson Vs Jake Paul will serve as the Co-Main Event for Mike Tyson Vs Roy Jones Jr. Pay Per View This event will be one of the most highly anticipated and viewed Boxing PPV’s of all-time. The bout is set to pair the 3 Time NBA Slam Dunk Champion and 11 Year NBA Veteran against the Disney Channel Actor turned Youtube Sensation verses each other in an 6 round Professional boxing match. The event takes place on November 28th NATE ROBINSON is looking to partner with your brand to showcase the company likeness on his in-ring shorts, lead up training videos, Instagram campaigns, and more. PROMOTIONAL POSTER VIEWERSHIP Jake Paul’s last event received 2.25 Million live Pay-Per-View streams, and currently has over 75 Million Youtube views to date. It was the LARGEST viewed non-professional boxing match of all time. This event is set to surpass those numbers. Aside from the larger than life headliners Mike Tyson and Roy Jones Jr, Triller has acquired some of the top musical artists in the industry to perform between each match. The fight will air through In-Demand Pay-Per-View / Triller, and has already been covered on Sports Center, Bleacher Report, CBS, NBC, Yahoo, TMZ and more. https://www.legendsonlyleague.com/ AUDIENCE REACH Instagram Followers: Instagram Followers: 2.3M 13.2M Demographic by Age: Demographic by Age: 13-17 Years 6% 13-17 Years 11% 18-24 Years 33% 18-24 Years 34% 25-34 Years 37% 25-34 Years 23% 35-44 Years 15% 35-44 Years 20% 45-54 Years 5% 45-54 Years 8% 55-64 Years 1% 55-64 Years 2% 65+ Years 1% 65+ Years 2% SPONSORSHIP OPPORTUNITIES IN-RING ACTIVATION All In-Ring activations include (2) Instagram feed post + (2) Instagram story post - In-Ring Shorts (Front) - In-Ring Shorts (Back) - Boxing Gloves - In-Ring Socks - Towels - Water Bottle - Mouth Guard ADDITIONAL ACTIVATION - Press Conference - Pre-fight Training Video Integration - Social Media Campaign A La Carte options available .
    [Show full text]
  • Whether Live, Virtual Or Hybrid, Events Go On
    The Business of Brands Digital Edition February 22, 2021 Whether live, virtual or hybrid, events go on A guide to how industry tentpoles like Cannes, SXSW and more are navigating the lingering pandemic In this issue February 22, 2021 Feature GOING FOR THE GLITZ Promotions aimed at influencers become more elaborate in the pandemic News THE WEEK AHEAD: FEBRUARY 22-26, 2021 A look at some of the happenings over the next five days of interest to marketers, agencies and media players. TRENDING At a glance hot topics in the world of marketing, including Target’s new chief marketing officer, Shaquille O’Neal’s Frosted Flakes play and Chevrolet’s new TikTok channel. AFTER REBRANDING AUNT JEMIMA, QUAKER FOODS MUST WALK THE TALK It’s a delicate balance to hold onto brand equity while moving beyond racist roots with a new name. In this issue February 22, 2021 CAN ADVERTISING’S BIGGEST EVENTS REDEEM THEMSELVES IN 2021? A number of marketers’ favorites are planning to use in-person or hybrid live-virtual formats. 5 QUESTIONS WITH YADIRA HARRISON Verb co-founder discusses the value of creating intimate brand events and building an experiential business in a pandemic. HOW MARKETERS CAN MAKE THE MOST OF SXSW ONLINE The festival that was the first to feel the impact from COVID-19 is now a testing ground for virtual brands. EXPERIENTIAL AGENCY NA COLLECTIVE CLOSES AS ‘CASUALTY OF THE PANDEMIC’ Work included live activations for Nike, Tinder, Facebook and more at events including SXSW and Bonnaroo. WHY MARKETERS FLOCK TO CLUBHOUSE TO TOUT THEIR EXPERTISE—AND BRANDS The app merges the professionalism of LinkedIn with the appeal of podcasts.
    [Show full text]
  • Triller Network Acquires Verzuz: Exclusive
    BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayMARCH 9, 2021 Page 1 of 25 Leader; Travis Denning Makes History INSIDE Triller Network Acquires Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debuts at No. 1 on Billboard’s lion audience impressions, up 16%). Top Country• Verzuz Albums Founders chart dated April 18. In its first week (endingVerzuz: April 9), it Exclusive earnedSwizz 46,000 Beatz equivalent & album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingTimbaland to Nielsen Talk Music/MRC Data. andBY total GAIL Country MITCHELL Airplay No. 1 as “Catch” (Big Machine Label Group) ascends SouthsideTriller Partnership: marks Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chart‘This and fourthPuts a top Light 10. It followsVerzuz, freshman the LPpopular livestream music platform creat- in music todayYoung’s than Verzuz,” first of six said chart Bobby entries, Sarnevesht “Sleep With,- MontevalloBack on, which Creatives’ arrived at theed summit by Swizz in No Beatz- and Timbaland, has been acquired executive chairmanout You,” andreached co-owner No. 2 in of December Triller, in 2016. an- He vember 2014 and reigned for nineby weeks. Triller To Network, date, parent company of the Triller app.
    [Show full text]
  • The State of the Creator Economy
    JUNE 2021 Insider Intelligence The State of the Creator Economy A Selected Chapter from The Influencer Monetization 2021 Report Introduction According to our latest forecast, 67.9% of US marketers from companies with 100 employees or more will use influencer marketing in 2021, up from 62.3% last year. In 2022, that Thank you for downloading “The State of the Creator figure will rise to 72.5%. Economy,” curated by Insider Intelligence Marketing. The following is an excerpt from the full “Influencer Monetization 2021” report. In this excerpt we detail the Share of US Marketers Using Social Media and latest trends in the creator economy, including Influencer Marketing, 2019-2022 monetization strategies, popular social platforms, and % of total marketers recent growth. 91.0% 91.7% 91.9% 92.1% Creators Are a Serious Business Many marketers long underestimated the value of 72.5% creators in their marketing mix. That’s no longer the 67.9% case. Most brands today have incorporated 62.3% influencer marketing into their media plans, and many 55.4% intend to allocate even more budget to the tactic this year than they did previously. 2019 2020 2021 2022 Creators vs. Influencers Social media marketing Influencer marketing In our previous reports, we used the words “influencers” Note: companies with 100+ employees; includes both paid and unpaid (i.e., compensation in the form of free product or trips) brand-influencer partnerships and “creators” interchangeably. But as the influencer Source: eMarketer, Nov 2020 marketing space evolves and expands, so too must the 262207 eMarketer | InsiderIntelligence.com vocabulary used to refer to the individuals who are active in it.
    [Show full text]
  • Dima Music Watch PPT Slides2
    Which best describes interests or preferences? I spend a lot of time seeking out I have little interest in hearing new songs or new music; songs or artists that 26% 24% 49% learning about new artists – I am satisfied I’ve not heard before hearing songs from my favorite artists I prefer to listen to the newest and I prefer to listen to music from years ago latest music of today 45% 16% 39% that I already know and love When it comes to music discovery, When it comes to music discovery, I want to I prefer hearing new music from 31% 19% 50% hear new songs from established or favorite new or up-and-coming artists artists I “lean in” and often search for I’m content just hearing new songs if they new music 24% 31% 44% happen to come up when I’m listening Any Music Streaming Service 63% AM/FM Radio Broadcast or Digital 52% sources Heard/Saw on Social Media or Dance/Video App 50% Friend(s)/family spoke to me about it or played it for me 39% Music is played in a movie (theme song or as background music) 35% Which of the following sources do I heard or saw the music played on Facebook, Twitter, Snapchat or Instagram 34% you find most helpful for hearing or Music in video games (e.g. Fortnite, Grand Theft Auto/GTA, etc.) 33% Played on a TV show (theme song, soundtrack or as background music) 33% learning about new songs and Recommended songs or albums from online music shopping sites (iTunes, Amazon, etc.) 32% artists, or for rediscovering songs Recommendations/postings from artists I like on Facebook, Twitter, Snapchat or Instagram 30% I saw postings/tweets/alerts, etc.
    [Show full text]
  • Online Safety for Parents CEOP
    Welcome to … Online Safety for Parents Education Child Protection Ltd. Education Child Protection Ltd. CEOP You should always report if your child is, or has been, in contact with some who is… Chatting to your Asking them to child about sex do sexual things on webcam ceop.police.uk www.thinkuknow.co.uk Child Exploitation Online Protection Centre Asking to meet up if Making them feel they’ve only met unsafe them online 1 Parent and Carer Parents Education Child Protection Ltd. Education Child Protection Ltd. Films for primary children… Tell Someone Timon & Pumba EDUCATING CHILDREN Animal Magic Jigsaw Keeping ourselves safe… Keeping ourselves safe… Keep your personal information private 2 Never give out your Top Secrets Keeping ourselves safe… Be kind to your online friends, like you would in the playground at school Education Child Protection Ltd. Keeping ourselves safe… Keeping ourselves safe… Check with an If you get stuck, adult at home If you see or before you something makes visit a new you feel sad or site, game or scared, always app tell a trusted adult Education Child Protection Ltd. Keeping ourselves safe… What else do CEOP say...? WE ARE HERE TO HELP! “We are police officers. We take Real friends this very seriously”. know our personal information and CHECK YOUR USERNAME! we see them all “Don’t tell people who you are – use a fun nickname instead”. the time – online friends never know TRUST YOUR TUMMY! who we are, “If anything makes your stomach feel funny, tell an adult you trust, or and we never CEOP....”.
    [Show full text]
  • TRILLER PRIVACY POLICY Last Updated: December 1, 2020 Welcome to Triller, a Web-Based Hosting, Communications, and Content Creat
    TRILLER PRIVACY POLICY Last Updated: December 1, 2020 Welcome to Triller, a web-based hosting, communications, and content creation/sharing platform owned and operated by Triller, Inc., whose address is at 2121 Avenue of the Stars Suite 2350, Los Angeles, California 90067 (“Company”, “we”, “us”, or “our”). Your privacy is very important to us, and in order to best protect your information, we have adopted this privacy policy (“Privacy Policy”), which describes the types of information we collect from registered or unregistered end users (each, a “User”, “you” or “your”) of the Triller website, https://www.triller.co/ (the “Site”), and/or the Triller mobile application (the “App”, and collectively with the Site and all services provided therein, the “Platform”), how such information is used, processed and in certain cases disclosed by us, and your rights and choices regarding the information you provide to us. Please read this Privacy Policy carefully prior to your use of, or creation of a registered User account (an “Account”) on, the Platform. If you do not agree to abide by this Privacy Policy, please do not use our Platform or create an Account. By accessing and using the Platform and/or creating an Account, you are deemed to have read, accepted, executed and be bound by this Privacy Policy, including, without limitation, the information collection, use and disclosure practices described herein. This Privacy Policy is governed by the Platform Terms of Service available at https://triller.co/static/terms-of-service, which includes all disclaimers of warranties and limitations of liabilities. Capitalized terms that are used but not defined in this Privacy Policy have the respective meanings assigned to such terms in the Terms of Service.
    [Show full text]
  • Resource Integration, Value Co-Creation, and Service-Dominant Logic in Music Marketing: the Case of the Tiktok Platform
    International Journal of Music Business Research • xx • 2021 DOI: 10.2478/ijmbr-2021-0002 International Journal of Music Business Research Resource Integration, Value Co-Creation, and Service-dominant Logic in Music Marketing: The Case of the TikTok Platform Research Article Benjamin Toscher* Department of Industrial Economics and Technology Management, Norwegian University of Science and Technology, Trondheim, Norway Received February 4, 2020; Accepted November 3, 2020 Abstract: It is a fact that the past research has explored service-dominant logic (S-D logic) and value co-creation in music marketing (Choi & Burnes 2013; Gamble & Gilmorex 2013; Gamble 2018; Saragih 2019), yet a key aspect of S-D logic, namely resource integration, is an unexplored territory and a promising phenomenon of study. A scattering of evidence demonstrates how actors, whether individuals or organisations, in the music industry are making value propositions and providing operand resources to users of platforms (Poell, Nieborg, & Van Dijck 2019), which may result in resource integration and commercial success at a quick pace and on a global scale. Using secondary data in an archival research approach (Welch 2000), this paper examines TikTok, a rapidly growing platform where users integrate short (e.g., under 15 s) clips of commercial music into user generated video content in which users dance to, lip-sync with, accept social challenges, integrate hashtags and create memes based on musical content. Further, there is a discussion on evidence about how music is being
    [Show full text]
  • 'Legends Ii' Kick-Off Press Conference Oscar De La Hoya
    PHOTOS / VIDEO / QUOTES TRILLER FIGHT CLUB PRESENTS ‘LEGENDS II’ KICK-OFF PRESS CONFERENCE OSCAR DE LA HOYA VS. ‘THE PHENOM' VITOR BELFORT BOTH LEGENDS PREDICT KNOCKOUTS VICTORIES ON SEPTEMBER 11! Photos / Chris Farina - Triller Fight Club Triller Fight Club - Int'l Media Virtual Presser - De La Hoya vs. Belfort Los Angeles, CA (July 27, 2021) ‘The Golden Boy’, Boxing Legend Oscar De La Hoya of East Los Angeles, CA and former UFC Superstar, Vitor ‘The Phenom’ Belfort of Rio de Janeiro, Brazil met with the Southern California media Today, Tuesday, July 27 at STAPLES Center Star Garden for the Kick-Off Press Conference ahead of their highly anticipated battle set presented by Triller Fight Club on Saturday, September 11 at the venue. Oscar De La Hoya “These exhibitions that we’re seeing are becoming a circus, I want no part of that. And that’s why this fight is a real, sanctioned fight and not an exhibition. Everybody who knows me, I’ve never been in a boring fight. I go out there and fight. An exhibition isn’t us, Vitor and I have too much at stake. When I see Belfort I can see in his eyes how proud he is of his legacy and I feel the same way too and I respect that.” “While I respect you brother, (Belfort), I can tell you one thing, we are going to kick the shit out of each other, that’s one thing for sure.” “This is not a game, I literally said if we’re going to do this, let’s do this for real.
    [Show full text]