ACRONYM 13 - Round 6 Written by Danny Vopava, Erik Nelson, Blake Andert, Rahul Rao-Potharaju, William Golden, and Auroni Gupta
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Excesss Karaoke Master by Artist
XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not -
The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes
Media Industries 5.2 (2018) The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes Annemarie Navar-Gill1 UNIVERSITY OF MICHIGAN amngill [AT] umich.edu Abstract Because companies, not writer-producers, are the legally protected “authors” of television shows, when production disputes between series creators and studio/ network suits arise, executives have every right to separate creators from their intellectual property creations. However, legally disempowered series creators can leverage an audience mandate to gain the upper hand in production disputes. Examining two case studies where an audience mandate was involved in overturning a corporate production decision—Rob Thomas’s seven-year quest to make a Veronica Mars movie and Dan Harmon’s firing from and subsequent rehiring to his position as the showrunner of Community—this article explores how the social media ecosystem around television rebalances power in disputes between creators and the corporate entities that produce and distribute their work. Keywords: Audiences, Authorship, Management, Production, Social Media, Television Scripted television shows have always had writers. For the most part, however, until the post-network era, those writers were not “authors.” As Catherine Fisk and Miranda Banks have shown in their respective historical accounts of the WGA (Writers Guild of America), television writers have a long history of negotiating the terms of what “authorship” meant in the context of their work, but for most of the medium’s history, the cultural validation afforded to an “author” eluded them.2 This began to change, however, in the 1990s, when the term “showrunner” began to appear in television trade press.3 “Showrunner” is an unofficial title referring to the executive producer and head writer of a television series, who acts in effect as the show’s CEO, overseeing the program’s story development and having final authority in essentially all production decisions. -
What Their Stories Tell Us: Research Findings from the Sisters In
What Their Stories Tell Us Research findings from the Sisters In Spirit initiative Sisters In Spirit 2010 Research Findings Aboriginal women and girls are strong and beautiful. They are our mothers, our daughters, our sisters, aunties, and grandmothers. Acknowledgments This research would not have been possible without the stories shared by families and communities of missing and murdered Aboriginal women and girls. The Native Women’s Association of Canada (NWAC) is indebted to the many families, communities, and friends who have lost a loved one. We are continually amazed by your strength, generosity and courage. We thank our Elders and acknowledge First Nations, Inuit and Métis communities for their strength and resilience. We acknowledge the dedication and commitment of community and grassroots researchers, advocates, and activists who have been instrumental in raising awareness about this issue. We also acknowledge the hard work of service providers and all those working towards ending violence against Aboriginal women in Canada. We appreciate the many community, provincial, national and Aboriginal organizations, and federal departments that supported this work, particularly Status of Women Canada. Finally, NWAC would like thank all those who worked on the Sisters In Spirit initiative over the past five years. These contributions have been invaluable and have helped shape the nature and findings of this report. This research report is dedicated to all Aboriginal women and girls who are missing or have been lost to violence. Sisters In Spirit 2010 Research Findings Native Women’s Association of Canada Incorporated in 1974, the Native Women’s Association of Canada (NWAC) is founded on the collective goal to enhance, promote, and foster the social, economic, cultural and political well- being of Aboriginal women within Aboriginal communities and Canadian society. -
Sounds of the Lobby Lounge
SOUNDS OF THE LOBBY LOUNGE Entertainment Schedule April - May 2020 Tune in every Wednesday from 4:15pm - 5:00pm (PST) via Facebook live for virtual music sessions highlighting some of Vancouver’s best talent that traditionally headline the stage at The Lobby Lounge, curated by Siegel Entertainment. APRIL Adam Thomas, 4:15pm (PST) 29 JUNO Nominated vocalist Adam Thomas performs favourite radio hits from this year all the way back to the jazz and big band era, and a wide array of classics from in between. His unique sound combines elements of soul, jazz, indie and top 40 music. MAY Antoinette Libelt, 4:15pm (PST) 6 Antoinette Libelt is an indie pop diamond in the rough. Growing up listening to artists like Michael Jackson and Aretha Franklin, she has emulated their powerful and soulful voices. Her style ranges from Top 40 hits to RnB and Country, ensuring her performance will have something for everyone. MAY Neal Ryan, 4:15pm (PST) 13 Originally from Dublin, Ireland and hailing from an intensely musical family, Neal Ryan’s love for his craft comes from a long lineage of storytellers, musicians and artists. Neal’s own original works bear large resemblance to the “Troubadour” era of the late 60’s and 70’, with inspiration from artists like James Taylor and Cat Stevens. MAY Rob Eller, 4:15pm (PST) 20 Rob Eller is a signer/guitarist/entertainer who chooses to express his music as a solo, and has had a guitar in his hands since his 9th birthday. He fills up the rooms he performs in with the sound of a full band, paying extra attention to musical dynamics, continually finding new ways to express a song. -
Dan Harmon and the #Metoo Apology
Journal of Contemporary Rhetoric, Vol. 9, No.3/4, 2019, pp. 112-125. “Redemption Follows Allocution”: Dan Harmon and the #MeToo Apology Ben Wetherbee This article analyzes comedian and TV writer Dan Harmon’s famously well-received #MeToo-era apology for sexual misconduct on the set of his sitcom Community, noting how Harmon revises the traditionally individualistic genre of the apology into a statement of advocacy for the collective moral imperative of the #MeToo movement. After discussing #MeToo as a rhetorical situation that justifiably trivializes pleas for individual forgiveness, the article analyzes Har- mon’s monologue in relation to scholarship on genre of apologia, contrasting Harmon’s with the comparatively indi- vidualistic and unsuccessful apology of Louis C.K and arguing that traditional apologies prove ill-suited to the #Me- Too era. I contend, finally, that male speakers seeking redemption for sexual misconduct should heed Harmon’s ex- ample of sustained critical self-reflection, pronounced advocacy for victims, and sustained cultivation of an ethos that merits redemption. Keywords: #MeToo, apology, apologia, allocution, Dan Harmon, rhetorical situation, differentiation, transcendence, characterological coherence The #MeToo movement hit peak momentum in late 2017, a year that saw sexual assault allegations mount against figures like Harvey Weinstein, Louis C.K., Matt Lauer, Garrison Keillor, Charlie Rose, Kevin Spacey, and a long list of other male celebrities—all of which, let us recall, succeeded the inauguration of a president who had nonchalantly boasted about grabbing women’s genitals before garnering 306 electoral votes.1 The comedian and writer Dan Harmon fittingly dubbed 2017 “the Year of the Asshole.” Taking to Twitter on New Year’s Eve of that year, the creator and former showrunner of NBC’s sitcom Community and co-creator of the Adult Swim animated series Rick and Morty offered this bit of self-deprecating, understated humor: “This was truly the Year of the Asshole. -
Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics
PAPER TOWER: AESTHETICS, TASTE, AND THE MIND-BODY PROBLEM IN AMERICAN INDEPENDENT COMICS William Timothy Jones A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Jeremy Wallach, Advisor Esther Clinton © 2014 William Timothy Jones All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Comics studies, as a relatively new field, is still building a canon. However, its criteria for canon-building has been modeled largely after modernist ideas about formal complexity and criteria for disinterested, detached, “objective” aesthetic judgment derived from one of the major philosophical debates in Western thought: the mind-body problem. This thesis analyzes two American independent comics in order to dissect the aspects of a comic work that allow it to be categorized as “art” in the canonical sense. Chris Ware’s Building Stories is a sprawling, Byzantine comic that exhibits characteristically modernist ideas about the subordination of the body to the mind and art’s relationship to mass culture. Rob Schrab’s Scud: The Disposable Assassin provides a counterpoint to Building Stories in its action-heavy stylistic approach, developing ideas about the merging of the mind and the body and the artistic and the commercial. Ultimately, this thesis advocates for a re -evaluation of comics criticism that values the subjective, emotional, and the popular as much as the “objective” areas of formal complexity and logic. iv ACKNOWLEDGMENTS To Anna O’Brien, for the original germ of this idea and hours of enlightening conversation and companionship. To Jeremy Wallach and Esther Clinton, whose emphatic response to the paper that eventually became this thesis was instrumental to my belief in the quality of my work. -
BULLPINE BULLPINE 181 Vernon Ave
BULLPINE BULLPINE 181 Vernon Ave. Kamloops, BC - 1-800-482-3459 - steelworkers1-417.ca Summer 2017 Clearwater May Day Parade The theme for The Clearwater May Day Parade this year was Canada 150. A few USW members and Canfor Vavenby staff, along with their families got together for the fifth year to build a float. The theme of our float was: A History of the Vavenby Sawmill. The mill was established in 1941 when Frank Capostinsky came from Alberta on behalf of Bob Swanson and bought a few of the original mills in the valley and set up the company known as CTP (Clearwater Timber Products). In 1986 CTP was bought by Slocan which then merged with and became known as Canfor in 2004. In the mid 1950's the mill unionized and the workers became part of the IWA (International Woodworkers of America) which merged with The United Steelworkers in 2004. A big thank you to all the helpers especially Keith for the design and organization of the work. The figures on top represent the “Loggers Sports Days” the community used to have to celebrate the Forest Industry in the valley. Big Barriere Block Party The second annual Big Barriere Block party was a huge success. Despite the cloudy and rainy weather, approximately 1000 people came out to enjoy the festivities . The action started with a bike rodeo for the kids from 12-2 and continued on with children's games, a vendors market, bouncy castles and live entertainment . The Big Barriere Block Party part 2 was only possible because of amazing sponsors like The United Steelworkers. -
IATSE and Labor Movement News
FIRST QUARTER, 2012 NUMBER 635 FEATURES Report of the 10 General Executive Board January 30 - February 3, 2012, Atlanta, Georgia Work Connects Us All AFL-CIO Launches New 77 Campaign, New Website New IATSE-PAC Contest 79 for the “Stand up, Fight Back” Campaign INTERNATIONAL ALLIANCE OF THEATRICAL STAGE EMPLOYEES, MOVING PICTURE TECHNICIANS, ARTISTS AND ALLIED CRAFTS OF THE UNITED STATES, ITS TERRITORIES AND CANADA, AFL-CIO, CLC EXECUTIVE OFFICERS Matthew D. Loeb James B. Wood International President General Secretary–Treasurer Thomas C. Short Michael W. Proscia International General Secretary– President Emeritus Treasurer Emeritus Edward C. Powell International Vice President Emeritus Timothy F. Magee Brian J. Lawlor 1st Vice President 7th Vice President 900 Pallister Ave. 1430 Broadway, 20th Floor Detroit, MI 48202 New York, NY 10018 DEPARTMENTS Michael Barnes Michael F. Miller, Jr. 2nd Vice President 8th Vice President 2401 South Swanson Street 10045 Riverside Drive Philadelphia, PA 19148 Toluca Lake, CA 91602 4 President’s 74 Local News & Views J. Walter Cahill John T. Beckman, Jr. 3rd Vice President 9th Vice President Newsletter 5010 Rugby Avenue 1611 S. Broadway, #110 80 On Location Bethesda, MD 20814 St Louis, MO 63104 Thom Davis Daniel DiTolla 5 General Secretary- 4th Vice President 10th Vice President 2520 West Olive Avenue 1430 Broadway, 20th Floor Treasurer’s Message 82 Safety Zone Burbank, CA 91505 New York, NY 10018 Anthony M. DePaulo John Ford 5th Vice President 11th Vice President 6 IATSE and Labor 83 On the Show Floor 1430 Broadway, 20th Floor 326 West 48th Street New York, NY 10018 New York, NY 10036 Movement News Damian Petti John M. -
Principals Involved in Lucid Plan Aren?T Done with Aurora
This page was exported from - The Auroran Export date: Thu Sep 30 6:36:34 2021 / +0000 GMT Principals involved in Lucid plan aren?t done with Aurora By Brock Weir With Aurora Live! dead in the water, enough time has passed for heads to cool and assess the situation. But George Roche, founder of Lucid Productions, the group that brought forward the Aurora Live! festival isn't completely done with Aurora. 2014, he said, is definitely a possibility. ?I would love to [bid on a festival] if we can get the ?Wild, Wild West' politics and the cynicism projected by [Councillor Chris Ballard] which I believe rises out of the treatment unto the Aurora Jazz Fest organizers,? said Mr. Roche, referring to the war of words between himself and the Councillor while the festival was still on the table. ?We always had a great feeling of working with Aurora and nothing has changed. When things go a little bit sideways obviously politicians start to protect themselves and their own credibility within the Town, but in this case the credibility wasn't protected.? Credibility also took a hit, he claims when Councillor Abel began to get ?demanding? on which bands should take to the stage and how much they should be paid, as well as what he describes as a ?spectacle? being made out of their references. ?2013 is out of the question [for a festival],? he said. ?We're very sorry it didn't go the way we had proposed. It wasn't anything to do with our actions, certainly being the lead writer and the pitchmen for the plan, I certainly wouldn't have done anything to hijack my own proposal. -
AMERICAN IDIOT As Recorded by Green Day (From the 2004 Album AMERICAN IDIOT) Words by Billie Joe Music by Green Day
AMERICAN IDIOT As recorded by Green Day (From the 2004 Album AMERICAN IDIOT) Words by Billie Joe Music by Green Day A Intro = 189 GP5 C 5 F 5 C 5 G 5 F 5 G 5 C 5 F 5 C 5 G 5 F 5 b b b b b b b b b b b b 3x 1 g g c c c c g ggg 4 V V V V V V I 4 V V V V V V V V V V V V V V V V V V V V V V GtVr I V V V V V V GtVr II V V V V V V V V T 6 6 6 6 6 6 A 6 6 6 6 6 4 (4) 4 6 6 4 6 6 6 6 6 4 (4) 4 6 6 4 B 6 6 6 4 4 4 (4) 4 4 6 4 6 6 6 4 4 4 (4) 4 4 6 4 4 4 4 2 (2) 2 4 2 4 4 4 2 (2) 2 4 2 B Verse G 5 C 5 F 5 C 5 G 5 F 5 b b b b b b 4x 5 g gg g c c I g g } } } } } } } } V V V V V V V V V V V } } } } } } } } V V V V V V V V V V V T V V V V 6 6 6 A x x x x x x x x 6 6 6 6 6 4 (4) 4 6 6 4 B x x x x x x x x 6 6 6 4 4 4 (4) 4 4 6 4 x x x x x x x x 4 4 4 2 (2) 2 4 2 C Chorus C 5 G 5 b b 9 g g g ggg V V V V V V V V V V V V V V V V I V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V T V V V V V V V V V V V V V V V V 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 A 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 B 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 D 5 G 5 b b 13 gggg g V V V V V V V V V V V V V V V V I g V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V T V V V V V V V V V V V V V V V V 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 A 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 B 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 C 5 G 5 b b 17 g g g ggg V V V V V V V V V V V V V V V V I V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V V T V V V V V V V V V V V V V V V V 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 A 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 B 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 Generated using the Power Tab Editor by Brad Larsen. -
TREE of CLUES: a Packet for Popheads
TREE OF CLUES: a packet for popheads Written by Kevin Kodama 1. In one song by this artist, a background clicking noise slows down as she sings “I found another way / To caress my day”. One of this artist’s videos is a single shot of her as both a giant goddess and tiny dancers that slowly zooms out. A track by this artist that she described as “a medieval march through the destruction of a relationship” laments “I never thought that you would be the one to tie me down”. This artist asks “Why don’t I do it for you” in a video that showcases her pole-dancing skills, and she explained a part of her name as “a selection of letters that sounded... masculine and strong”. For ten points, name this artist who released “Cellophane” for her 2019 album MAGDALENE. ANSWER: FKA twigs (accept Taliah Debrett Barnett) 2. This song’s heavily ad-libbed bridge includes the James Brown-inspired lyric “Good God! I can’t help it!”. In the music video for this song, the artist crawls on the ground sporting white polka dotted lipstick. This song begins with a series of tongue clicking and a breathy “yeah” along with some funky guitars. The video for this song uses pink, purple, and blue lighting in a scene where the artist runs between a male flirt and Tessa Thompson. This song’s artist describes herself as “an emotional sexual bender”, which is a nod to her pansexuality. For ten points, name this top r/popheads track of 2018, a Janelle Monae song that was the lead single for the album Dirty Computer. -
OFFICIAL PROGRAM for BROADWAY in DETROIT at the Detroit Opera House MADE IN
OFFICIAL PROGRAM FOR BROADWAY IN DETROIT AT THE Detroit Opera HOUSE MADE IN PEOPLE MAGNET. REALIZES EVERY DAY IS A BLESSING. ENJOYS WORKING AT COSTCO. APPRECIATES HIS SECOND CHANCE IN LIFE. 100 % SAM ZIEMAN XL CHARACTER We have character. Thousands of them, actually. Like Sam, our residents won’t just steal the show... they’ll steal your heart. Visit americanhouse.com/testimonials to watch videos and learn more about our incredible cast of characters. For information on our communities visit americanhouse.com or call (800) 351-5224. Residences • Dining • Activities • Education • Wellness • Transportation • Support Services* TDD (800) 649-3777 *Support Services provided by third party not affiliated with American House. job number: 50679_B24_C1-1 date: 10/07/11 client: RLX advertiser: RLX dtp: color: cs: acct: client: please contact thelab at 212-209-1333 with any questions or concerns regarding these materials. Proof: 12/23/11; 8:30PM Million Dollar Quartet JERRY LEE JOHNNY Tom Hulce & Ira Pittelman Work Light Productions Publication: ELVIS CARL Vivek J. Tiwary Latitude Link Scott M. Delman Broadway in Detroit programAllan for S. Gordon MagicSpace Entertainment PRESLEY PERKINS “Wicked” LEWIS CASH In Association with Run dates: 12/7/11 tpAbbie 12/31/11 M. Strassler John Domo Lorenzo Thione & Jay Kuo Size: full page full bleed Present trim size: 5-3/8” x 8-3/8” THE BROADWAY MUSICAL bleed: 1/8” inside margin: 1/4” For: Nederlander Detroit (Fisher Theatre & others) Music by Lyrics by Design: Frank Bach, Green Day Billie Joe Armstrong INSPIRED BY THE ELECTRIFYING TRUE STORY Bach & Associates; Book by Phone 313-822-43038;Billie Joe Armstrong and Michael Mayer [email protected] Van Hughes Scott J.