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Trixie Mattel and Katya Dating
UNHhhh ep 5: "Dating PART 2" with Trixie Mattel & Katya Zamolodchikova. UNHhhh ep 4: "Dating" with Trixie Mattel & Katya Zamolodchikova. UNHhhh ep 3: "Traveling" w/ Trixie Mattel & Katya Zamolodchikova. UNHhhh ep 2: "RDR8 Cast Advice" w/ Trixie Mattel & Katya Zamolodchikova. 1 day ago · Trixie and Katya are back with new episodes of UNHhhh Season 5 and they've got the trailer to prove it. Here's everything you need to know about Trixie and Katya. Trixie Mattel is the stage name of Brian Firkus, a drag queen, performer, comedian and music artist best known as a Season 7 contestant of RuPaul's Drag Race and the winner of All Stars Following the success she got thanks to the show, Trixie started presenting a web show with Katya, entitled "UNHhhh", on the WOWPresents' YouTube renuzap.podarokideal.ru later starred on their new show entitled . Jul 15, · Katya: Paint on a different one! Trixie Mattel: This is a window for you, Carolyn, to become the new hot girl in the office right under everyone’s noses. Because you watched a few makeup. Mar 27, · Ever since Katya Zamolodchikova returned to Twitter, fans have been anxiously awaiting to see if the drag star would say anything about her friend and former co-star Trixie Mattel’s win on. Mar 24, · — Trixie Mattel (@trixiemattel) December 20, Trixie hasn’t revealed much about her boyfriend. She protects him from social media users as well. Trixie Mattel Net Worth and TV shows. The drag queen, Trixie Mattel has an estimated net worth of $2 million. Trixie started performing drag in the year at LaCage NiteClub. -
The Age of Video Games: Language and Narrative
Single Cycle Degree programme in Lingue e Letterature Europee, Americane e Post Coloniali ordinamento ex D.M. 270/2004 Final Thesis The Age of Video Games: Language and Narrative Supervisor Ch. Prof. David Newbold Assistant supervisor Ch. Prof. Daniela Cesiri Graduand Pietro Addis Matriculation Number 833471 Academic Year 2016 / 2017 Contents General Introduction 1 Chapter I: The Language of the Gaming Community Introduction 3 1.1 Language Divide 4 1.2 Main Characteristics 15 1.3 Language Censorship 40 1.4 New Varieties 43 Chapter II: The Narrative of Video Games 2.1 Narrative, Ludology and Video Games 50 2.2 Elements of Narrative 56 2.3 Cheating 70 2.4 Furthering the Narrative 72 2.5 Morality and Video Game 77 Chapter III: A Case Study Introduction 87 3.1 The Development Team 88 3.2 The Video Game Project 89 3.3 Plot 94 3.4 The Language of Vapor Knight 111 3.5 The Video Game Soundtrack 116 3.6 Character Development 120 Conclusions 123 Bibliography 125 General Introduction The birth, growth and spreading of the Internet has revolutionised the modes of communications between humans, providing a new form with which people can communicate with each other, even at great geographical distance. It also entails that the interaction between humans has changed, since many instances of communication are mediated by a device or a machine. The rise of the Internet has also introduced new linguistic and narrative aspects, which have embedded themselves into the lives of a vast percentage of the world population and particularly inside pop and youth culture. -
November 30-December 6, 2018 / Vol. 41 / No. 2 / Laweekly.Com
anderson cooper talks news • an art gallery on a battleship • perry farrell’s new project ® NOVEMBER 30-DECEMBER 6, 2018 / VOL. 41 / NO. 2 / LAWEEKLY.COM 3 LA WEEKLY WEEKLY | N - D , | | N Spend $100 Get $15 Spend $150 Get $25 THRU DEC 31ST WWW . LAWEEKLY .COM 7733 Santa Monica Blvd. 323.650.1022 FREE PARKING! All purchases over $100 from December 1-December 31st, 2018 qualify for a gift voucher. Oer not valid with any other oer or discount. Oer valid on in-store purchases under $1000 and online purchases at PleasureChest.com under $250. 4 L November 30-December 6, 2018 // Vol. 41 // No. 2 // laweekly.com Perry Farrell LA WEEKLY LA ContentsJessicka Addams | N - D , || | N PHOTO BY GABRIELLE 13GEISELMANMILONE PHOTO BY GL HEUREUX 23 GO LA...6 FEATURE...13 FILM...20 Check out the Henry & Glenn Forever Toy L.A. women are taking a stand for equality BILGE EBIRI reviews Hirokazu Kore-eda’s ADVERTISING Party, eat your fill at the L.A. Times’ 101 in the music industry and nightlife. BY LINA Shoplifters, and ALAN SCHERSTUHL reviews WWW.LAWEEKLY.COM CLASSIFIED...30 Restaurants We Love food event, explore LECARO. HBO’s documentary United Skates, plus EDUCATION/EMPLOYMENT...31 Descanso Gardens’ “Enchanted Forest of other movies OPENING THIS WEEK, and REAL ESTATE/RENTALS...31 Light” and more fun stuff to do and see in ARTS...17 YOUR WEEKLY MOVIE TO-DO LIST. L.A. this week. Alfa Romeo Tango, or A.R.T., is a new BULLETIN BOARD...31 gallery deep within the battleship USS MUSIC...23 NEWS...11 Iowa. -
The Evolution of Masculinity and Mental Health Narratives in Rap Music
Man Down: The Evolution of Masculinity and Mental Health Narratives in Rap Music Rachel Hart,[1] Department of English, University of Bristol Abstract This article explores how one of the most typically hyper-masculine cultural arenas in Britain and America has evolved over the past 30 years, as rap artists decide to reject the stoicism of toxic masculinity in favour of promoting healthier conversations surrounding men’s mental health and associated coping mechanisms. Though rap has always been vocal about mental distress, its dominant narratives have evolved over the past 30 years to talk more specifically and positively about mental health issues. Over time rap has begun promoting therapy, medication, self-care and treatment, rather than self-medication via drugs and alcohol, or violence against the self or others. This is symbiotically informing and being informed by society’s changing ideas about masculinity and the construct of gender. In order to explore the evolution in discussions around men’s mental health from the 1990s to the present day, this article is split into three sections, each focusing on a different decade. I closely analyse the lyrics of one rap song in each chapter, which has been selected to represent rap’s general trends regarding discussions of mental health from that decade. I also briefly explore other songs that prove the decade’s trends. This article draws upon academic research as well as personal interviews undertaken with Solomon OB (2016’s National Poetry Slam champion), and Elias Williams, founder of MANDEM.com (an online media platform engaging with social issues and shining a light on young men of colour). -
Dylan's Apocalypse
DYLAN‘S APOCALYPSE: COUNTRY MUSIC AND THE END OF THE WORLD A Thesis by ADAM CLAY GRIFFEY Submitted to the Graduate School Appalachian State University In partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2011 Department of History DYLAN‘S APOCALYPSE: COUNTRY MUSIC AND THE END OF THE WORLD A Thesis by ADAM CLAY GRIFFEY August 2011 APPROVED BY: _____________________________ Dr. James Goff Chairperson, Thesis Committee _____________________________ Dr. Timothy Silver Member, Thesis Committee _____________________________ Dr. Michael Wade Member, Thesis Committee ____________________________ Dr. Lucinda McCray Chairperson, Department of History ____________________________ Dr. Edelma D. Huntley Dean, Research and Graduate Studies Copyright by Adam Clay Griffey 2011 All Rights Reserved ABSTRACT DYLAN‘S APOCALYPSE: COUNTRY MUSIC AND THE END OF THE WORLD. (August 2011) Adam Clay Griffey, B.A., Berea College M.A., English, Appalachian State University M.A., History, Appalachian State University Thesis Chairperson: Dr. James Goff At the end of the 1960s, with the United States escalating a war overseas while a revolution stirred at home, Bob Dylan retreated from his public (if unasked for) role as a spokesman for the political Left, and wrote and recorded two albums of country music. In so doing he merged his abiding interest in the apocalyptic with that of the events of his times. This thesis looks at the history behind John Wesley Harding (1967) and Nashville Skyline (1969) and argues for their relevance as expressions of both the country music tradition and to the history of apocalyptic prophecy. Chapter I discusses Dylan‘s place in the lineage of biblical prophecy and eschatological writing. -
The Multiplayer Game: User Identity and the Meaning Of
THE MULTIPLAYER GAME: USER IDENTITY AND THE MEANING OF HOME VIDEO GAMES IN THE UNITED STATES, 1972-1994 by Kevin Donald Impellizeri A dissertation submitted to the Faculty of the University of Delaware in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History Fall 2019 Copyright 2019 Kevin Donald Impellizeri All Rights Reserved THE MULTIPLAYER GAME: USER IDENTITY AND THE MEANING OF HOME VIDEO GAMES IN THE UNITED STATES, 1972-1994 by Kevin Donald Impellizeri Approved: ______________________________________________________ Alison M. Parker, Ph.D. Chair of the Department of History Approved: ______________________________________________________ John A. Pelesko, Ph.D. Dean of the College of Arts and Sciences Approved: ______________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education and Dean of the Graduate College I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ______________________________________________________ Katherine C. Grier, Ph.D. Professor in charge of dissertation. I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ______________________________________________________ Arwen P. Mohun, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ______________________________________________________ Jonathan Russ, Ph.D. -
Powerless in Movement: How Social Movements Influence, and Fail to Influence, American Oliticsp and Policy
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 Powerless In Movement: How Social Movements Influence, And Fail To Influence, American oliticsP And Policy Matthew Mongiello Mongiello University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the American Studies Commons, Political Science Commons, and the Public Policy Commons Recommended Citation Mongiello, Matthew Mongiello, "Powerless In Movement: How Social Movements Influence, And ailF To Influence, American oliticsP And Policy" (2016). Publicly Accessible Penn Dissertations. 2481. https://repository.upenn.edu/edissertations/2481 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2481 For more information, please contact [email protected]. Powerless In Movement: How Social Movements Influence, And ailF To Influence, American Politics And Policy Abstract Much of the literature on social movements centers on cyclical theories of political opportunity. While such work lays an important foundation for understanding contentious politics, it fails to fully integrate movements as actors in the American political system and public policy process. As such, the ways movements exercise power in the American political system, and the ways that power is constrained, are often not clearly conceptualized. This dissertation argues that movements exercise political power in the US in three distinct but overlapping ways; pluralist interest -
How Has Drag Culture Evolved Through Popular Culture and How Is It Propelled by the Use of Social Media Within the USA Nowadays? by Paula Ulrika Luksevica
How has drag culture evolved through popular culture and how is it propelled by the use of social media within the USA nowadays? by Paula Ulrika Luksevica Advisor: Michael Krona Examiner: Anders Høg Hansen Grading date: 25-11-2019 Grade: B Main Field: Media and Communications Studies Culture, Collaborative Media and Creative Industries Level: One-year Masters Thesis Malmö University Year: 2019 Abstract Drag culture has become more and more popular throughout the last decade. Performances of drag queens, before, mostly available in secluded bars and clubs, now can be easily found in sold-out venues all around the world. The success of this community can be traced back to the immense success of the television show Ru Paul’s Drag Race (Logo TV, 2009-2016; VH1 2017-present) and its subsequent impact on the drag performers (also called drag queens) reach through social media platforms, especially Instagram. This paper attempts to point out what was the chain of events that ultimately brought the phenomenon of drag culture to mainstream media and how is it currently narrated to the public. For this research, several research methods were used, such as uses and gratification theory and media framing. A thorough data analysis was conducted, using a data frame, which was applied to a number of news sources within the US. Furthermore, statistics on Instagram following and engagement were taken into consideration as well as compared to individuals of ‘celebrity status’ in order to see how developed the profiles of chosen drag performers are on social media, particularly, Instagram. It was conducted that drag culture on five most read news portals in the USA is generally presented in a positive light, however, has a surprising amount of neutral opinions and lesser amount of negative articles overall. -
Queer in the Country
VOLUME 104, ISSUE NO. 9 | STUDENT-RUN SINCE 1916 | RICETHRESHER.ORG | WEDNESDAY, OCTOBER 30, 2019 ARTS & ENTERTAINMENT Cartoonist Leela Corman speaks on visual storytelling SANVITTI SAHDEV THRESHER STAFF According to cartoonist Leela Corman, you can make a comic out of anything. She makes hers out of watercolor paints, activism and personal experiences with trauma. During her visit to Rice last Thursday, Corman talked about the process of visual storytelling with students. Her first book is a collection of short stories titled “We All Wish for Deadly Force,” after which she came out with the acclaimed graphic novel, “Unterzakhn.” Her comics frequently deal with the trauma of the personal loss of her daughter, as well as the generational trauma of World War II. During her talk, she showed examples of her work and discussed her creative process as well as her artistic influences. For me, the most inspiring part of her talk grew out of the discussion with students, when a question about the strong resonance of the memory of the Holocaust in the Jewish community led Corman to passionately and thoughtfully expand upon how experiences of the Holocaust inform her storytelling and activism in an American context. I always interrogate my use of the Holocaust in my work because there have been so many QUEER IN THE holocausts. America’s built on two. COUNTRY: Leela Corman Rice students talk LGBTQ+ identity CARTOONIST and country music “I grew up in a family of Holocaust survivors, and so I always instinctually ILLUSTRATION BY YIFEI ZHANG understood that mass traumas worldwide are connected,” Corman said. -
An Analysis of the One Direction Fandom's Ability to Influence and Dominate Orldwidew Twitter Trends
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 "Nobody Can #DragMeDown": An Analysis of the One Direction Fandom's Ability to Influence and Dominate orldwideW Twitter Trends Nicole Kelsey Santero University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Broadcast and Video Studies Commons, Communication Technology and New Media Commons, Journalism Studies Commons, Mass Communication Commons, and the Other Communication Commons Repository Citation Santero, Nicole Kelsey, ""Nobody Can #DragMeDown": An Analysis of the One Direction Fandom's Ability to Influence and Dominate orldwideW Twitter Trends" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2730. http://dx.doi.org/10.34917/9112174 This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. “NOBODY CAN #DRAGMEDOWN”: -
ASCAP/BMI Comment
Stuart Rosen Senior Vice President General Counsel November 20, 2015 Chief, Litigation III Section Antitrust Division U.S. Department of Justice 450 5th Street NW, Suite 4000 Washington, DC 20001 Re: Justice Department Review of the BMI and ASCAP Consent Decrees To the Chief of the Litigation III Section: BMI recently alerted its community of affiliated songwriters, composers and publishers to the profound impact 100% licensing would have on their careers, both creatively and financially, if it were to be mandated by the U.S. Department of Justice. In a call to action, BMI provided a letter, one for songwriters and one for publishers, to which their signatures could be added. The response was overwhelming. BMI received nearly 13,000 signatures from writers, composers and publishers of all genres of music, at all levels in their careers. Some of the industry's most well- known songwriters added their names, including Stephen Stills, Cynthia Weil, Steve Cropper, Ester Dean, Dean Pitchford, Congressman John Hall, Trini Lopez, John Cafferty, Gunnar Nelson, Lori McKenna, Shannon Rubicam and Don Brewer, among many others. Enclosed you will find the letters, with signatures attached. On behalf of BMI, I strongly urge you to consider the voices of thousands of songwriters and copyright owners reflected here before making a decision that will adversely affect both the creators, and the ongoing creation of, one ofAmerica's most important cultural and economic resources. Vert truly yours, Stuart Rosen 7 World Trade Center, 250 Greenwich Street, New York, NY 10007-0030 (212) 220-3153 Fax: (212) 220-4482 E-Mail: [email protected] ® A Registered Trademark of Broadcast Music, Inc. -
MAKING and MARKETING MUSIC the Musician’S Guide to Financing, Distributing, and Promoting Albums
MAKING AND MARKETING MUSIC S econd Edition MAKING AND MARKETING MUSIC The Musician’s Guide To Financing, Distributing, and Promoting Albums J ODI S UMMERS ALLWORTH PRESS NEW YORK © 2004 Jodi Summers All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Con- vention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. 07 06 05 04 03 5 4 3 2 1 Published by Allworth Press An imprint of Allworth Communications 10 East 23rd Street, New York, NY 10010 www.allworth.com LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Summers, Jodi. Making and marketing music: the musician’s guide to financing, distributing, and promoting albums/ Jodi Summers.—2nd ed. p. cm. Includes index. ISBN 1-58115-387-2 (pbk.) 1. Sound recording industry—United States. 2. Sound recordings—United States— Marketing. 3. Popular music—Writing and publishing. I. Title. ML3790.S84 2004 780'.68’8—dc22 2004017390 Cover design by Derek Bacchus Page composition/typography by Sharp Des!gns, Lansing, MI ISBN: 1-58115-387-2 Printed in Canada Dedicated to everybody who has ever believed in me. Contents 1 Choosing to Make an Album ................................................................... 1 2 Getting Started: Who and What You Need to Know ...................... 17 3 Raising Money ......................................................................................... 43 4 Getting the Album Deal .......................................................................... 61 5 Going the Indie Route ............................................................................ 77 6 Making a Record ..................................................................................... 97 7 Recording in the Comfort of Your Home.......................................... 119 8 Timing Is Everything: Planning the Release Date ......................