Help It's All in The
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division -
Off the Straight & Narrow
MEDIA EDUCATION FOUNDATIONChallenging media TRANSCRIPT OFF THE STRAIGHT & NARROW LESBIAN, GAYS, BISEXUALS & TELEVISION OFF THE STRAIGHT & NARROW Lesbian, Gays, Bisexuals & Television Producer, Director, and Editor: Katherine Sender Executive Producer: Sut Jhally Narrated by C.A. Griffith Featuring interviews with: Edward Alwood Journalist and Historian Richard Dyer University of Warwick, UK John Erni University of New Hampshire Larry Gross Annenberg School for Communication, University of Pennsylvania Lisa Henderson University of Massachusetts – Amherst Marguerite Moritz University of Colorado at Boulder Charles Nero Bates College Sasha Torres Johns Hopkins University Media Education Foundation © MEF 1998 2 INTRODUCTION Montage of Media clips [Unlabeled media] Why am I a homosexual? [Unlabeled media] I’m a homosexual. [TV: Ellen] I’m gay. [TV: The Simpsons] You know me Marge. I like my beer cold, my TV loud, and my homosexuals flaming. NARRATOR: Most of us grow up not knowing any openly lesbian, gay, or bisexual people. But television offers us a rich panoply of characters for understanding the world. So what images of gay life does television offer? What is possible in a commercial medium that demands high audience ratings to maximize advertising revenues? This program is about how gays, lesbians, and bisexuals have been written into a straight television world, and how gay audiences have made room for themselves within it. 3 THE EARLY YEARS – Seen and Not Heard NARRATOR: The 1960’s were a time of political ferment. The movements for civil rights, women’s liberation, and the end of the Vietnam War were profoundly disruptive to a society emerging from the seeming consensus of the late 1950’s. -
The Formal and Contextual Relation of Typographic and Visual Elements of Pj Harvey Album Covers
THE FORMAL AND CONTEXTUAL RELATION OF TYPOGRAPHIC AND VISUAL ELEMENTS OF PJ HARVEY ALBUM COVERS Cinla Seker The aim of this research is to determine 21st century’s formal and contextual design solutions with the guidance of graphic design principles by analyzing design products. Twenty-nine times nominated and six times winner for the international worldwide music awards Pj Harvey’s eight alternative rock studio album covers have chosen; Dry (1992), Rid of Me (1993), To Bring You My Love (1995), Is this Desire?(1998), Stories from the City, Stories from the Sea (2000), Uh Huh Her (2004), White Chalk (2007), Let England Shake (2011).Graphic design as a design discipline in special means determining the formals of a 2d before production process according to the context. Album covers are one of the many graphic design products of 21st century. With the help of an album cover the artist reflects an audial expression visually. For a successful visualization some graphic design principles should have been considered by the designers. Design principles are the guides of organizing elements like visuals, typography and color. In this research five design principles are looked for; unity/harmony, balance, hierarchy, scale/proportion, dominance/emphasis and, similarity and contrast. On Pj Harvey’s album covers it is determined that every five of these principles were considered by the graphic designer during the design process as outlined. INTRODUCTION ............................................................................................ 750 I. ALBUM COVERS AS A GRAPHIC DESIGN PRODUCT................................... 751 A. Analysis of Pj Harvey Album Covers........................................ 752 CONCLUSION ............................................................................................... 757 INTRODUCTION Formal and functional features determination process called the design. -
Hooterville Liner Notes PDF 9/24/20
1 ON MY WAY TO HOOTERVILLE - CHRISTINE LAVIN TABLE OF CONTENTS Page 1 Table of Contents 2 Album art/who’s who 3-7 Liner notes by Ira Mayer 8 Track #1: “On My Way To Hooterville, Part 1” 20 Track #2: “Wut?” 25 Track #3: “My Sister Mary & My Mother” 31 Track #4: “Ode To Clint Eastwood” 40 Track #5: “On My Way To Hooterville, Part 2” 43 Track #6: “The Quiet Car” 50 Track #7: “Until That Day” 56 Track #8: “Ramblin’ Waltz” 63 Track #9: “Ray’s Copy Shop” 76 Track #10: “First Dance/Last Dance” (song for David Ippolito) 80 Track #11: “On My Way To Hooterville, Part 3” 86-88 Thank you/photo collage Caffe Lena/Dave Van Ronk: p.59-62 Don’t ever use this pickup line p.55 Mary E p.31-40 Kerry Harter & Doug Taylor: p.29-31 Jean Claude Larrivee/Grit Laskin p.63 Ira Mayer p. 3-7 Dr. Joe Montano (audiologist) p.22-25 Joe Namath p.55 Rolling Thunder Revue p.56-62 Hillary Rollins p.71 The Webster Apts p.35-37 Mason William p.61-62 Yaddo p.38, 84 2 L-R top: Christine Lavin, Brian, Ashley, and Madelyn Bauers, Daniel Glass & Jōji the Wonder Dog, Debi Smith, and Phil Klum middle: Jody Crawford Lavin & Mary Slothower Lavin, Amelia Krinke, and David Ippolito bottom: Steve Doyle, Robin Batteau, Mary E, Brandon O’Sullivan, and Dr. Joe Montano 3 And Now, Hooterville is Pleased to Present . Christiiiiiiine Lavin! by Ira Mayer If you are already familiar with Christine Lavin, you probably know the avenue by which you got to her music. -
201 Great Ideas for Your Small Business
FFIRS.indd ii 23/03/11 1:13 PM Additional Praise for 201 Great Ideas for Your Small Business “Owning 201 Great Ideas for Your Small Business is like having a team of consultants sitting in your offi ce. Th is book not only educates and inspires, but the ideas will help you save time and money as well.” —Rieva Lesonsky, CEO, GrowBiz Media/SmallBizDaily.com, Former Editorial Director Entrepreneur magazine FFIRS.indd i 23/03/11 1:13 PM FFIRS.indd ii 23/03/11 1:13 PM 201 GREAT IDEAS for Your SMALL BUSINESS FFIRS.indd iii 23/03/11 1:13 PM Since 1996, Bloomberg Press has published books for fi nancial profession- als, as well as books of general interest in investing, economics, current aff airs, and policy aff ecting investors and business people. Titles are written by well-known practitioners, BLOOMBERG NEWS® reporters and colum- nists, and other leading authorities and journalists. Bloomberg Press books have been translated into more than 20 languages. For a list of available titles, please visit our web site at www.wiley.com/ go/bloombergpress. FFIRS.indd iv 23/03/11 1:13 PM 201 GREAT IDEAS for Your SMALL BUSINESS Third Edition JANE APPLEGATE FFIRS.indd v 23/03/11 1:13 PM Copyright © 2011 by Jane Applegate. All rights reserved. Published by John Wiley & Sons, Inc., Hoboken, New Jersey. Published simultaneously in Canada. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the Web at www.copyright.com. -
The Symbolic Rape of Representation: a Rhetorical Analysis of Black Musical Expression on Billboard's Hot 100 Charts
THE SYMBOLIC RAPE OF REPRESENTATION: A RHETORICAL ANALYSIS OF BLACK MUSICAL EXPRESSION ON BILLBOARD'S HOT 100 CHARTS Richard Sheldon Koonce 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 December 2006 Committee: John Makay, Advisor William Coggin Graduate Faculty Representative Lynda Dee Dixon Radhika Gajjala ii ABSTRACT John J. Makay, Advisor The purpose of this study is to use rhetorical criticism as a means of examining how Blacks are depicted in the lyrics of popular songs, particularly hip-hop music. This study provides a rhetorical analysis of 40 popular songs on Billboard’s Hot 100 Singles Charts from 1999 to 2006. The songs were selected from the Billboard charts, which were accessible to me as a paid subscriber of Napster. The rhetorical analysis of these songs will be bolstered through the use of Black feminist/critical theories. This study will extend previous research regarding the rhetoric of song. It also will identify some of the shared themes in music produced by Blacks, particularly the genre commonly referred to as hip-hop music. This analysis builds upon the idea that the majority of hip-hop music produced and performed by Black recording artists reinforces racial stereotypes, and thus, hegemony. The study supports the concept of which bell hooks (1981) frequently refers to as white supremacist capitalist patriarchy and what Hill-Collins (2000) refers to as the hegemonic domain. The analysis also provides a framework for analyzing the themes of popular songs across genres. The genres ultimately are viewed through the gaze of race and gender because Black male recording artists perform the majority of hip-hop songs. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music Volume 1 of 2 Phono-somatics: gender, embodiment and voice in the recorded music of Tori Amos, Björk and PJ Harvey by Sarah Boak Thesis for the degree of Doctor of Philosophy October 2015 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Thesis for the degree of Doctor of Philosophy PHONO-SOMATICS: GENDER, EMBODIMENT AND VOICE IN THE RECORDED MUSIC OF TORI AMOS, BJÖRK AND PJ HARVEY Sarah Boak This thesis is a feminist enquiry into the relationship between gender, embodiment and voice in recorded popular music post-1990. In particular, the study focuses on the term ‘embodiment’ and defines this term in a way that moves forward from a simple understanding of representing the body in music. -
The History of Rock Music - the Nineties
The History of Rock Music - The Nineties The History of Rock Music 1989-1994 Raves, grunge, post-rock History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2002 Piero Scaruffi) Female Rock (These are excerpts from my book "A History of Rock and Dance Music") Psychedelic feminism, 1989-92 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The early 1990s marked a dramatic change in the gender balance. Not only did many female singer-songwriters emerge, but their artistic achievements generally ranked higher than those of the men. The emergence of the female auteur was partly a consequence of the riot-grrrls movement and partly a sign of a changing social and psychological landscape. The ladies had their own styles (plural). First of all, at the turn of the decade, an eccentric figure of lo-fi psychedelic storytellers emerged out of New York's underground lofts. Multi-instrumentalist Azalia Snail (12) devoted her career to enigmatic and arcane reconstructions of the hippie era. Snailbait (? 1988/?1989 - ? 1989) featured a parade of folk-psychedelic vocal impersonations as well as erratic guitar playing with no rhythm section, and peaked with a 23- minute collage of singing, distorted tapes, found noises and assorted turbulence, So Much More To Go. Burnt Sienna (? ? - ? 1992) indulged in psychedelic effects, amid distorted vocals and dissonant music, leading to the chaotic Fumarole Rising (? 1993 - ? 1993), the culmination of her program of disintegration of the pop song. -
The Description of Figurative Language Used in Avril
THE DESCRIPTION OF FIGURATIVE LANGUAGE USED IN AVRIL LAVIGNE’S SONGS: THE BEST DAMN THING ALBUM A PAPER BY RIZKY SASKIA PUTRI LUBIS NIM : 152202006 DIPLOMA OF ENGLISH DEPARTMENT FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2018 UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am, RIZKY SASKIA PUTRI LUBIS, declare that I am the sole author of this paper. Except where the reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person’s work has been used without due acknowledgement in the main text of this paper. This paper has not been submitted for the award or another degree in any tertiary education. Signed : Date : November 30th,, 2018 i UNIVERSITAS SUMATERA UTARA COPYRIGHT DECLARATION Name : RIZKY SASKIA PUTRI LUBIS Title of Paper : THE DESCRIPTION OF FIGURATIVE LANGUAGE USED IN AVRIL LAVIGNE’S ALBUM: THE BEST DAMN THING Qualification : D-III / Ahli Madya Study Program : English 1. I am willing that my paper should be available for reproduction at the discretion of the Libertarian of the Diploma III English Study Program Faculty of Cultural studies, USU on the understanding that users are made aware of their obligation under law of the Republic of Indonesia. 2. I am not willing that my papers be made available for reproduction. Signed : Date : November 30th, 2018 ii UNIVERSITAS SUMATERA UTARA ABSTRAK Kertas karya ini berjudul Description of Figurative Language used in Avril Lavigne’s album: The Best Damn Thing. -
Tangled Web by Galigee of Bzpower with Gratitude and Apologies to the Creators of LEGO Bionicle Et Al
Tangled Web by GaliGee of BZPower with gratitude and apologies to the creators of LEGO Bionicle et al. ©2014 Sir Walter Scott had no idea... 1. Ensnared...................................................................................................................................5 Train – Get To Me....................................................................................................................................................5 2. Dancing with the Devil ..........................................................................................................12 Doris Day – Sentimental Journey..........................................................................................................................12 3. Homecoming..........................................................................................................................17 Soundgarden – Black Hole Sun ............................................................................................................................17 Beck – E-Pro ..........................................................................................................................................................18 4. Unsound Judgment.................................................................................................................25 Simple Plan — Me Against the World ..................................................................................................................25 Linkin Park — Don’t Stay.....................................................................................................................................25 -
Cronologia Dei Principali Album E Delle Migliori
1 Cronologia dei principali album 1963 The Beatles Please, Please Me mar With the Beatles nov 1964 The Rolling Stones Rolling Stones apr 12X5 nov The Beatles A Hard Day's Night lug Beatles for Sale dic The Yardbirds Five Live Yardbirds dic 1965 The Kinks Kinda Kinks mar The Rolling Stones Now apr Out of Our Heads lug Donovan Whats Bin Did and What’s Bin Hid mag Fairytale ott Moody Blues The Magnificent Moodies lug The Beatles Help ago Rubber Soul dic The Kinks Face to Face ott The Who My Generation dic 1966 The Rolling Stones Aftermath apr John Mayall, Eric Clapton Mayall’s Blues Breakers with Eric Clapton lug The Yardbirds Roger the Engineer lug The Beatles Revolver ago Donovan Sunshine Superman set The Who A Quick One dic Cream Fresh Cream dic 1967 Donovan Mellow Yellow gen 2 The Rolling Stones Between the Buttons gen Their Satanic Majesties Request dic John Mayall Hard Road feb Crusade set Small Faces Small Faces giu The Beatles Sgt Pepper giu Magical Mystery Tour dic The Bee Gees The Bee Gees 1st lug The Yardbirds Little Games lug Pink Floyd The Piper at the Gate of Down ago Animals Winds of Change set Ten Years After Ten Years After ott The Who The Who Sell Out nov Cream Disraeli Gears nov Moody Blues Days of Future Passed nov Nice The Thought of Emerlist Davjack dic Traffic Mr Fantasy dic The Kinks Something Else m s Brian Auger Open m s 1968 The Bee Gees Horizontal gen Procol Harum Procol Harum gen Shine on Brightly dic John Martyn London Conversation feb Small Faces Ogden’s Nut Gome Flake mag Pentangle Pentangle giu Sweet Child -
Assumptions of Authority: Social Washington's Evolution from Republican Court to Self-Rule, 1801-1831
Wayne State University Wayne State University Dissertations 1-1-2014 Assumptions Of Authority: Social Washington's Evolution From Republican Court To Self-Rule, 1801-1831 Merry Ellen Scofield Wayne State University, [email protected] Follow this and additional works at: https://digitalcommons.wayne.edu/oa_dissertations Part of the United States History Commons Recommended Citation Scofield, Merry Ellen, "Assumptions Of Authority: Social Washington's Evolution From Republican Court To Self-Rule, 1801-1831" (2014). Wayne State University Dissertations. 1055. https://digitalcommons.wayne.edu/oa_dissertations/1055 This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. ASSUMPTIONS OF AUTHORITY: SOCIAL WASHINGTON'S EVOLUTION FROM REPUBLICAN COURT TO SELF-RULE, 1801-1831 by MERRY ELLEN SCOFIELD DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2014 MAJOR: HISTORY Approved by: ______________________________________ Advisor Date ______________________________________ ______________________________________ ______________________________________ © COPYRIGHT BY MERRY ELLEN SCOFIELD 2014 All Rights Reserved ACKNOWLEDGMENTS Both Oakland University and Wayne State have afforded me the opportunity of working under scholars who have contributed either directly or indirectly to the completion of my dissertation and the degree attached to it. From Oakland, Carl Osthaus and Todd Estes encouraged and supported me and showed generous pride in my small accomplishments. Both continued their support after I left Oakland. There is a direct path between this dissertation and Todd Estes. I would not have published a portion of my master's thesis without his support, and being published changed the direction of my academic career and the way I saw myself.