Fiscal Year 2002 Six Month Business Performance and Second Half Outlook
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Santa Fe Daily New Mexican, 07-06-1896 New Mexican Printing Company
University of New Mexico UNM Digital Repository Santa Fe New Mexican, 1883-1913 New Mexico Historical Newspapers 7-6-1896 Santa Fe Daily New Mexican, 07-06-1896 New Mexican Printing Company Follow this and additional works at: https://digitalrepository.unm.edu/sfnm_news Recommended Citation New Mexican Printing Company. "Santa Fe Daily New Mexican, 07-06-1896." (1896). https://digitalrepository.unm.edu/ sfnm_news/5356 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Santa Fe New Mexican, 1883-1913 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. SANTA. FE DAILY NEW-MEXICA- N VOL.33. SANTA FE, N. Mm MONDAY, JULY G, 1896- - NO. 110 assembling from the several states take THE WAR IS ON. 4en. Young Dead. A..T.& S. F. EARNINGS. Highest of all in Leavening Power. Latest U. S. Gov't Report ON CHICAGO A ALL EYES ARE immediate aotion looking to the preserva- Washington, July 6. dispatch re tion of our party from destruction. The ceived at the Btate y an A War Fires on An Am- department from the Keceivera I'pon the exigencies of the situation admit neither Spanish Ship that Gen. Pierce M. B. Figures would erican Boat-Ure- at Excitement nonnced Young, Two How It Looks on the Eve of the Great of delay or compromise. If we U. S. minister to Gnstamala and Hon' Last Years' Operations.' we must aot. now un- at Key West. -
浜崎あゆみ Next Level Mp3, Flac, Wma
浜崎あゆみ Next Level mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock / Pop Album: Next Level Country: Japan Released: 2009 Style: J-pop, Techno, Pop Rock, Synth-pop MP3 version RAR size: 1324 mb FLAC version RAR size: 1492 mb WMA version RAR size: 1405 mb Rating: 4.9 Votes: 778 Other Formats: DXD VOC VQF AU AUD AIFF XM Tracklist Hide Credits Bridge To The Sky 1 1:40 Music By, Arranged By, Programmed By – Yuta Nakano Next Level 2 Arranged By, Programmed By – HAL Backing Vocals – Junko HirotaniGuitar – Takehito 4:28 ShimizuMusic By – D.A.I.Programmed By [Additional] – Mayuko Maruyama Disco-munication 3 1:30 Music By, Arranged By, Programmed By, Guitar, Bass – CMJK Energize 4 4:29 Arranged By, Programmed By, Guitar – CMJKMusic By – Yuta Nakano Sparkle 5 4:30 Arranged By, Programmed By, Guitar, Bass – CMJKMusic By – Kazuhiro Hara Rollin' 6 5:02 Arranged By, Programmed By, Guitar – CMJKMusic By – Yuta Nakano Green 7 Arranged By [Strings] – Gen IttetsuArranged By, Programmed By, Guitar – TasukuDrums – 4:46 Tom Tamada*Music By – Tetsuya YukumiStrings – Gen Ittetsu Strings* Load Of The Shugyo 8 1:30 Music By, Arranged By, Programmed By, Guitar, Bass – CMJK Identity Backing Vocals [Additional] – Sharlotte Gibson, Stephanie AlexandraBass – Chris 9 4:16 ChaneyDrums – Josh FreeseGuitar – Tim PierceGuitar [Additional] – KIKU , Ryota AkizukiMusic By, Arranged By, Programmed By – Yuta Nakano Rule Arranged By, Programmed By – HAL Bass – Junko KitasakaDrums – Tom Tamada*Guitar – 10 4:07 Takehito ShimizuMusic By – Miki WatanabeProgrammed -
The Globalization of K-Pop: the Interplay of External and Internal Forces
THE GLOBALIZATION OF K-POP: THE INTERPLAY OF EXTERNAL AND INTERNAL FORCES Master Thesis presented by Hiu Yan Kong Furtwangen University MBA WS14/16 Matriculation Number 249536 May, 2016 Sworn Statement I hereby solemnly declare on my oath that the work presented has been carried out by me alone without any form of illicit assistance. All sources used have been fully quoted. (Signature, Date) Abstract This thesis aims to provide a comprehensive and systematic analysis about the growing popularity of Korean pop music (K-pop) worldwide in recent years. On one hand, the international expansion of K-pop can be understood as a result of the strategic planning and business execution that are created and carried out by the entertainment agencies. On the other hand, external circumstances such as the rise of social media also create a wide array of opportunities for K-pop to broaden its global appeal. The research explores the ways how the interplay between external circumstances and organizational strategies has jointly contributed to the global circulation of K-pop. The research starts with providing a general descriptive overview of K-pop. Following that, quantitative methods are applied to measure and assess the international recognition and global spread of K-pop. Next, a systematic approach is used to identify and analyze factors and forces that have important influences and implications on K-pop’s globalization. The analysis is carried out based on three levels of business environment which are macro, operating, and internal level. PEST analysis is applied to identify critical macro-environmental factors including political, economic, socio-cultural, and technological. -
A Qualitative Study of How Non-Native Interactants Manage Misunderstanding in A
Linköping University Department of Culture and Communication Master’s Program Language and Culture in Europe “Misunderstanding in Telephone Interaction” A Qualitative Study of how Non-native Interactants Manage Misunderstanding in a Mediated Communication Obaidullah Anwar Autumn 2010 Supervisor: Ali Reza Majlesi Table of Contents 1 Introduction 2 1.1 Aims 3 1.2 Participants 3 2 Theoretical Background 5 2.1 Research Background; An Overview 5 2.1.1 Misunderstanding and Non-understanding 5 2.1.2 Miscommunication in Intercultural Communication 6 2.1.3 Telephone Conversation 8 2.2 Theoretical Framework 9 2.2.1 Ethnomethodology and CA as Theory 9 2.2.2 Methods of CA 10 3 Methodology 13 3.1 Description of Data 13 4 Analysis 15 4.1 Misunderstanding Due to Pronunciation 15 4.2 Misunderstanding Due to Grammatical Structure 16 4.3 Misunderstanding Due to Names 20 4.4 Misunderstanding Due to Pace of Utterance 22 4.5 Misunderstanding Due to Mother Tongue Effect 23 4.6 Misunderstanding Due to Non Clarity and Pitch 26 5 Concluding Discussion 31 5.1 Findings and Conclusions 32 6 References 34 7 Appendix 36 1 1. Introduction Miscommunications, misconceptions and misunderstandings are a common part of everyday human interaction. People, despite their desires to communicate successfully, misunderstand each other’s words, silences, gestures or other social actions many often times. Such incidents not only keep happening between interlocutors having different language and culture backgrounds, but also between fellows, spouses, grown-ups and children, medical doctors and their patients, and teachers and their students off and on. Tzanne (2000: 1) is of the view that such misunderstandings may have trivial, entertaining, unpleasant and even catastrophic consequences. -
Aya Hirano Bouken Desho Desho? Mp3, Flac, Wma
Aya Hirano Bouken Desho Desho? mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Stage & Screen Album: Bouken Desho Desho? Country: US Released: 2007 Style: J-pop, Karaoke, Theme MP3 version RAR size: 1330 mb FLAC version RAR size: 1975 mb WMA version RAR size: 1606 mb Rating: 4.5 Votes: 251 Other Formats: MIDI WAV MMF FLAC APE DXD VQF Tracklist 1 Bouken Desho Desho? 4:18 2 Kazeyomi Ribbon 3:47 3 Bouken Desho Desho? (Karaoke Version) 4:18 4 Kazeyomi Ribbon (Karaoke Version) 3:43 Companies, etc. Recorded At – Studio Magic Garden Credits Arranged By – Junpei Fujita (tracks: 1, 3), Takahiro Ando (tracks: 2, 4) Art Direction – Junya Imai Composed By – Akiko Tomita (tracks: 1, 3), Morihiro Suzuki (tracks: 2, 4) Directed By – Shigeru Saito Engineer – Atsushi Kobayashi , Haruhiko Shimokawa, Katsumi Moriya Executive-Producer – Kazuoki Ohnishi, Shunji Inoue Illustration – Shoko Ikeda Lyrics By – Aki Hata Mastered By – Yoshihiko Ando Painting – Naomi Ishida Photography By – Takahiro Yoshimoto Producer – Shigeru Saito Strings – Gen Ittetsu Strings* Tenor Saxophone – Kazuki Katsuta Trombone – Hiroki Sato Trumpet – Shirou Sasaki* Notes Tracks 1 and 3 are opening theme of TV anime "The Melancholy of Haruhi Suumiya". Tracks 2 and 4 are opening theme of radio drama "The Melancholy of Haruhi Suzumiya SOS Brigade Radio Division". Other versions Category Artist Title (Format) Label Category Country Year LACM-4255 Aya Hirano 冒険でしょでしょ? (CD, Maxi) Lantis LACM-4255 Japan 2006 Related Music albums to Bouken Desho Desho? by Aya Hirano Masayoshi Takanaka - T-Wave 山瀬まみ - 親指姫 Koda Kumi - Eternity ~Love & Songs~ Ai Otsuka - Love Is Best Taeko Ohnuki, Shigeru Suzuki, Haruomi Hosono, Kaze , Yuko Tomita, Ryohei Yamanashi, Haruomi Hosono - On The Beach Ayumi Hamasaki - A Ballads Takahiro Saito - Mandom-Lovers Of The World / 25 Minutes To Go Ayumi Hamasaki - Ayu-mi-x 7 -Version Acoustic Orchestra- Ai Otsuka - Love Fantastic Various - Carol Tribute Sam Morgan's Jazz Band / The Get-Happy Band / The Blue Ribbon Syncopators - Sam Morgan Etc. -
The Recording Industry in Japan 2005
RIAJ Yearbook 2005 The Recording Industry in Japan English Edition 2005 Statistics Analysis Trends CONTENTS Overview of Production of Recordings in 2004 ..................................1 Production Statistics by Format (Unit Basis•Value Basis) ............2 1. Total Recorded Music — Unit Basis......................................................................2 2. Total Audio Recordings — Unit Basis ..................................................................2 3. Total CDs — Unit Basis ........................................................................................2 4. Total Recorded Music — Value Basis....................................................................3 5. Total Audio Recordings — Value Basis ................................................................3 6. Total CDs — Value Basis......................................................................................3 7. CD Singles — Unit Basis ......................................................................................4 8. 5" CD Albums — Unit Basis ................................................................................4 0. Reference 1. Video Recordings — Unit Basis ................................................................4 9. CD Singles — Value Basis....................................................................................5 10. 5" CD Albums — Value Basis ..............................................................................5 0. Reference 2. Video Recordings — Value Basis ..............................................................5 -
This Project by Patricia J
TEACHING ADULT EFL LEARNERS IN JAPAN FROM A JAPANESE PERSPECTIVE SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE MASTER OF ARTS IN TEACHING DEGREE AT THE SCHOOL FOR INTERNATIONAL TRAINING BRATTLEBORO, VERMONT BY PATRICIA JEAN GAGE SEPTEMBER 2004 © PATRICIA JEAN GAGE 2004 This project by Patricia J. Gage is accepted in its present form. The author hereby grants the School for International Training the permission to electronically reproduce and transmit this document to the students, alumni, staff, and faculty of the World Learning Community. © Patricia Jean Gage, 2004. All rights reserved. Date _________________________________ Project Advisor _________________________________ (Paul LeVasseur) Project Reader _________________________________ (Kevin O’Donnell) Acknowledgements There are so many people that contributed to this project and without their help this project would not have been possible. First, I would like to thank my Sakae and Taiyonomachi classes for always being patient with me and for taking time out of their busy schedules to write feedback about each of the topics. Second, I am very grateful to Toshihiko Kamegaya, Mayumi Noda, Katsuko Usui, Terukazu Chinen and Naoko Ueda for providing the anecdotes in the section titled “Voices from Japan.” Third, I would like to give a special thanks to Paul LeVasseur, my advisor and teacher, whose Four Skills class inspired me to do this project and whose insightful comments about this paper were invaluable. I would also like to thank the summer faculty at SIT for their dedication and commitment to the teaching profession and to their students. Next, I would like to acknowledge my reader, Kevin O’Donnell, for guiding me in the right direction and for spending time, in his already hectic schedule, to read my paper. -
Arara Report 5May 16 Th , 2011 Arara Inc
arara report 5May 16 th , 2011 arara inc. “““ARAPPLI“ARAPPLIARAPPLI”””” is used for the national tour of worldworld----famousfamous Japanese singer, Ayumi Hamasaki. A character, “ayupan”, appears from the tour catalogcatalog as AR and introduces tour itemsitems.... arara inc.(Minato-ku, Tokyo/CEO Yosuke Iwai) announces that our AR application for smart phone, “ARAPPLI”, is used for the of famous Japanese singer, Ayumi Hamasaki’s national tour which began from May 7 th The promotional items’ AR catalog is distributed at Ayumi Hamasaki’s national wide tour which is called “ayumi hamasaki 〜POWER of MUSIC 〜 2011 A” and began from May 7 th . On the catalog, there are seven different QRAR marks. When a smart phone with “ARAPPLI” is held over the QRAR marks, “ayupan”, the character of Ayumi Hamasaki, appears as the AR and explains the promotional items. Since the downloaded AR contents are saved under the “Collection” of “ARAPPLI”, fans can enjoy after the concert. Moreover, the content is only distributed at the concert as original limited contents. By using “ARAPPLI” for tour items’ brochure, the promotional items can be introduced not only with the two dimensional information such as drawings and pictures, but also with sounds, movies, and 3D information. Those information can help introducing the items that cannot be explained only with catalog more attractively in detail. arara inc. is promoting our AR application for smart phone, “ARAPPLI”, and we aim to bring AR closer to everyone’s everyday life by providing various services with AR. Capture image of AR 「ayumi hamasaki ~Power of Music~ 2011 A 」 tour items’ brochure front page About AR (Augmented Reality) AR is a technology and the images that blended virtual graphics onto a physical reality. -
Investigating the Chronological Variation of Popular Song Lyrics Through Lexical Indices
Investigating the Chronological Variation of Popular Song Lyrics Through Lexical Indices Investigating the Chronological Variation of Popular Song Lyrics Through Lexical Indices Yuichiro Kobayashi1, Misaki Amagasa**, and Takafumi Suzuki** Abstract Popular songs can be regarded as a fine representation of modern society and culture. In particular, the lyrics of popular songs are the most important aspect for understanding the sense of values and linguistic sensitivity in a given generation and community. The purpose of the present study is to investigate the chronological variation of popular Japanese songs using stylometric techniques. This study draws on the lyrics of 858 songs, which appeared on the Oricon annual top 20 single hit chart between 1976 and 2015. The linguistic features investigated in this study include five different types of lexical indices, namely (a) number of words, (b) parts-of-speech, (c) word types, (d) character types, and (e) vocabulary level. Multiple regression analysis was conducted to explore the chronological change in the frequencies of lexical indices. The results showed that the frequencies of word types and character types dramatically changed before and after 1990. Moreover, the usages of auxiliary verbs as well as lower level vocabulary became more prominent, whereas the frequencies of adjectival nouns and conjunctions decreased. The findings suggest that a turning point in cultural trends corresponds with the historically significant political and economic events, such as the end of the Showa era and the burst of the bubble economy. 1. Introduction Popular songs provide a special kind of window into modern society and culture. In the United States, a number of people listen to top-ranked songs on the Billboard chart, and many songwriters make an effort to compose songs that can reach not just domestic listeners but also overseas fans. -
Without Prejudice
05 Tools WARM 06–07 Campaigns Vita Bergen, Courtney Barnett/ Kurt Vile, U2, Black Eyed Peas 08–11 Behind The Campaign- Cecilia Bartoli DECEMBER 6 2017 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 193 PLAYLISTEN WITHOUT PREJUDICE WHERE NEXT FOR PLAYLISTS? COVERFEATURE Playlists are the new albums/new radio [delete as applicable] and will only grow in power next year. We spoke to those building playlists and those pitching to them about how they have shifted the promotional centre of gravity for the record business and where they will move next. Is it just an Apple/Spotify duopoly? What are the other services doing to close the gap? Is the label-led playlist brand an exercise in futility? As algorithms become more refined, what will that mean for editorial playlists? And is everything going to be blown apart when smart speakers really hit the mass market? 2018 will be a critical year for the playlists and those hoping to dominate on them. f you want an indication of how labels contacted Music Ally to point out important playlists have become to the error. Imusic marketers, witness the almighty In 2018, a year in which paid streaming’s PLAYLISTEN kerfuffle at the start of November when “surge” phase of rapid growth in revenue a glitch in the Spotify system led to a and subscriber base looks set to continue, drop in follower counts for a number of the importance of playlist marketing is only the platform’s playlists. The technical going to increase, creating both dazzling WITHOUT gremlins were swiftly resolved, but not opportunities and nagging headaches for PREJUDICE before several rather nervous major marketers and DSPs alike. -
Grassroots Britain's Party Members
Mile End Institute Grassroots Britain’s party members: who they are, what they think, and what they do January 2018 Tim Bale Paul Webb Monica Poletti mei.qmul.ac.ukwww.mei.qmul.ac.uk 1 Contents About the Party Members Project 5 Chapter One: What do party members look like? 7 Chapter Two: Ideology, issues and policies 11 Chapter Three: Joining: the why and the how 21 Chapter Four: The upsides and downsides of party membership 25 Chapter Five: Choosing MPs and other privileges 34 Chapter Six: Campaigning 36 Conclusion 38 Appendix 40 About the authors 41 2 www.mei.qmul.ac.uk www.mei.qmul.ac.uk 3 About the Party Members Project Party membership is vital to the health of This pamphlet reports the results of our representative democracy. Members surveys we conducted just after the contribute significantly to election General Election in June 2017, in campaigns and to party finances. They are particular those covering the members of the people who pick party leaders. They the Conservatives, Labour, the Lib Dems constitute the pool from which parties and the SNP. Each sample is a mix of choose their candidates. And they help party members we were able to re-contact anchor the parties to the principles and from our earlier surveys plus members people they came into politics to promote who have joined the parties since then and protect. (see Appendix). Beginning just after the 2015 General Although we will also be putting a version Election, and with funding from the UK’s on our project’s webpage, we thought it social science research council, the ESRC, would be handy to produce something we have, with the help of YouGov, been in hard copy that can be easily read and surveying the members of the country’s passed around the office. -
The Recording Industry in Japan 2008 CONTENTS
RIAJ YEARBOOK 2008 The Recording Industry in Japan 2008 CONTENTS Overview of Production of Recordings and Digital Music Delivery in 2007 ....1 Statistics by Format (Unit Basis — Value Basis) ..............................................................4 1. Total Recorded Music — Production on Unit Basis............................................................4 2. Total Audio Recordings — Production on Unit Basis ........................................................4 3. Total CDs — Production on Unit Basis ..............................................................................4 4. Total Recorded Music — Production on Value Basis ........................................................5 5. Total Audio Recordings — Production on Value Basis ......................................................5 6. Total CDs — Production on Value Basis ............................................................................5 7. CD Singles — Production on Unit Basis ............................................................................6 8. 5" CD Albums — Production on Unit Basis........................................................................6 9. Music Videos — Production on Unit Basis ........................................................................6 10. CD Singles — Production on Value Basis ..........................................................................7 11. 5" CD Albums — Production on Value Basis ....................................................................7 12. Music Videos — Production on Value