The Dr. Demento Show #98-24 - June 14, 1998

Total Page:16

File Type:pdf, Size:1020Kb

The Dr. Demento Show #98-24 - June 14, 1998 The Dr. Demento Show #98-24 - June 14, 1998 --- Playlist --- Topic: 1986 Playlist Generated on 09/26/21 by www.madmusic.com Werecow - Flippy T. Fishead & The Mighty Ground Beeves Kill Barney - P. H. Fred My Dad's A Wonderful Guy - Mr. Zipp & Clint My Father's Top Drawer - Peter Alsop Eat All The Old People - No Time Ghost Chickens In The Sky - Sean Morey God Bless The U. F. O. - Capitol Steps Hey, Godzilla - Whimsical Will It's Not Nice To Fool Mother Nature - Dan Murphy Stop Talking About Comic Books Or I'll Kill You - Ookla the Mok Comix Song #2 - The Vestibules Do The Cartman - P. H. Fred We Burned The Christmas Tree - Pete Chaston & Walt Groditski Let's Make The Water Turn Black - The Mothers of Invention Dog With Plastic Stomach - The Yuh-uh-uh-uhs Small Brown Hill - John Kubilus Happy Boy - The Beat Farmers Ukrainian Uranium Bread - Tim Cavanagh Roaches - Bobby Jimmy & The Critters Jane, Get Me Off This Crazy Thing! (Prime Time Radio Mix) - The Tee Vee Toons Master Mix I Do The Watusi - Howie Mandel Addicted To Spuds - "Weird Al" Yankovic Rock Me Jerry Lewis - Tri 5 f/ Mike & Bud (Mike Elliott & Bud LaTour) Paranoimia - The Art Of Noise w/ Max Headroom A Medley Of Beatles' Tunes - Father Guido Sarducci #5 - First Redneck On The Internet - Cledus T. Judd (w/ Buck Owens) #4 - Talking Again - Henry Phillips f/ Edie Magoun #3 - South Park Junkie - Sudden Death #2 - Defenders Of Marriage - Roy Zimmerman #1 - Star Trekkin' - The Firm - Talking Again (Bonus Track) - Henry Phillips f/ Edie Magoun Next week: the great outdoors.
Recommended publications
  • AUTHOR Braddlee TITLE Intertextuality and Television Discourse: the Max Headroom Story
    DOCUMENT RESUME ED 310 462 CS 506 795 AUTHOR Braddlee TITLE Intertextuality and Television Discourse: The Max Headroom Story. PUB DATE May 89 NOTE 27p.; Paper presented at the Annual Meeting of the International Communication Association (38th, New Orleans, LA, May 29-June 2, 1988). PUB TYPE Speeches/Conference Papers (150) -- Viewpoints (120) -- Reports - Evaluative/Feasibility (142) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Advertising; Discourse Analysis; Higher Education; Mass Media; Mass Media Effects; *Mass Media Role; *Mass Media Use; *Programing (Broadcast); *Reader Text Relationship; Television Research; *Television Viewing; Text Structure IDENTIFIERS Intertextuality; *Max Headroom ABSTRACT Max Headroom, the computer-generated media personality, presents a good opportunity for an investigation of the degree of intertextuality in television. Max combines narrative genres (science fiction and film noir), television program types (prime-time episodic narrative, made-for-TV movie, talkshows), advertising and programming, and electronic and print media. Analysis of one channel of discourse, commercials and advertising, shows that neither advertisers nor textual theorists can rest safely on their assumptions. The text involved here is complex in the very sense that culture itself is complex, and readings of media that reduce complexity to a simplistic ideological positioning of readers are reductive and based on an overprivileging of dominance over the intelligence of viewers, and their power to expose and exploit contradictory textual elements. By over-emphasizing the hegemonic and deemphasizing the emancipatory or oppositional, injustice is done to both the complexity of texts, and their potential for encouraging critical positionings among readers. Only through empirical investigation of individuals' readings in a consistent and systematic fashion will it be possible to determine the relationships between viewers and texts.
    [Show full text]
  • Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
    Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing
    [Show full text]
  • Computer Algorithms As Persuasive Agents: the Rhetoricity of Algorithmic Surveillance Within the Built Ecological Network
    COMPUTER ALGORITHMS AS PERSUASIVE AGENTS: THE RHETORICITY OF ALGORITHMIC SURVEILLANCE WITHIN THE BUILT ECOLOGICAL NETWORK Estee N. Beck 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 May 2015 Committee: Kristine Blair, Advisor Patrick Pauken, Graduate Faculty Representative Sue Carter Wood Lee Nickoson © 2015 Estee N. Beck All Rights Reserved iii ABSTRACT Kristine Blair, Advisor Each time our students and colleagues participate online, they face invisible tracking technologies that harvest metadata for web customization, targeted advertising, and even state surveillance activities. This practice may be of concern for computers and writing and digital humanities specialists, who examine the ideological forces in computer-mediated writing spaces to address power inequality, as well as the role ideology plays in shaping human consciousness. However, the materiality of technology—the non-human objects that surrounds us—is of concern to those within rhetoric and composition as well. This project shifts attention to the materiality of non-human objects, specifically computer algorithms and computer code. I argue that these technologies are powerful non-human objects that have rhetorical agency and persuasive abilities, and as a result shape the everyday practices and behaviors of writers/composers on the web as well as other non-human objects. Through rhetorical inquiry, I examine literature from rhetoric and composition, surveillance studies, media and software studies, sociology, anthropology, and philosophy. I offer a “built ecological network” theory that is the manufactured and natural rhetorical rhizomatic network full of spatial, material, social, linguistic, and dynamic energy layers that enter into reflexive and reciprocal relations to support my claim that computer algorithms have agency and persuasive abilities.
    [Show full text]
  • The Art of Noise the Best of the Art of Noise Mp3, Flac, Wma
    The Art Of Noise The Best Of The Art Of Noise mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: The Best Of The Art Of Noise Country: Europe Released: 1988 Style: Leftfield, Downtempo, Synth-pop, Experimental, Ambient MP3 version RAR size: 1752 mb FLAC version RAR size: 1875 mb WMA version RAR size: 1745 mb Rating: 4.1 Votes: 426 Other Formats: MP4 MP3 AA MMF MP1 MIDI RA Tracklist Hide Credits Art Works 12" 1 Opus 4 2:00 2 Beat Box (Diversion One) 8:33 3 Moments In Love 7:00 4 Close (To The Edit) 5:41 Peter Gunn (The Twang Mix) 5 7:30 Featuring – Duane Eddy Paranoimia 6 6:40 Featuring – Max Headroom 7 Legacy 8:20 8 Dragnet '88 (From The Motion Picture Dragnet) 7:15 Kiss (The AON Mix) 9 8:09 Featuring – Tom Jones 10 Something Always Happens 2:28 Companies, etc. Phonographic Copyright (p) – China Records Ltd. Copyright (c) – China Records Ltd. Marketed By – Polydor Records Ltd. Distributed By – Polydor Records Ltd. Published By – Warner Bros. Music Ltd. Published By – Perfect Songs Ltd. Published By – Unforgettable Songs Ltd. Published By – RCA Music Ltd. Published By – Carlin Music Corp. Published By – Controversy Music Published By – Copyright Control Published By – BMG Music Publishing Ltd. Phonographic Copyright (p) – Zang Tuum Tumb Licensed From – Island Licensed From – ZTT Credits Composed By – Dudley* (tracks: 1 to 4, 6, 7, 10), Langan* (tracks: 1 to 4, 7, 10), Mancini* (tracks: 5), Jeczalik* (tracks: 1 to 4, 6, 7, 10), Morley* (tracks: 2 to 4), Prince (tracks: 9), Horn* (tracks: 2 to 4), Schumann* (tracks: 8) Design – Ryan Art Photography By [Sea Scape] – Paul Wakefield Producer, Arranged By – Anne Dudley (tracks: 1, 2, 5 to 10), Gary Langan (tracks: 1, 2, 5 to 7, 10), J.
    [Show full text]
  • 'N' Andy: the Colour Blind Ideology in Video Game Voice Acting
    Document generated on 09/30/2021 2:10 p.m. Loading The Journal of the Canadian Game Studies Association Avatar 'n' Andy The Colour Blind Ideology in Video Game Voice Acting Philip Miletic Volume 13, Number 21, Summer 2020 Article abstract Despite recent criticisms that call out blackface in video game voice acting, the URI: https://id.erudit.org/iderudit/1071450ar term “blackface” was and still is seldomly used to describe the act of casting DOI: https://doi.org/10.7202/1071450ar white voice actors as characters of colour. As a result, the act of blackface in video game voice acting still occurs because of colorblind claims surrounding See table of contents the digital medium and culture of games. In this paper, I position blackface in video game voice acting within a technological and cultural history of oral blackface and white sonic norms. I focus on three time periods: the Publisher(s) Intellivision Intellivoice and the invention of a "universal" voice in video games; early American radio in the 1920s-1930s and the national Canadian Game Studies Association standardization of voice; and colorblind rhetoric of contemporary game publishers/devs and voice actors. ISSN 1923-2691 (digital) Explore this journal Cite this article Miletic, P. (2020). Avatar 'n' Andy: The Colour Blind Ideology in Video Game Voice Acting. Loading, 13(21), 34–54. https://doi.org/10.7202/1071450ar Copyright, 2020 Philip Miletic This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit.
    [Show full text]
  • Pompton Lakes DVD Title List
    Pompton Lakes DVD Title List Title Call Number MPAA Rating Date Added Release Date 007 A View to A Kill DVD 007 PG 8/4/2016 10/2/2012 007 Diamonds are Forever DVD 007 PG 8/4/2016 10/2/2012 007 Dr. No BLU 007 PG 3/13/2017 8/17/2012 007 For Your Eyes Only BLU 007 PG 3/13/2017 9/15/2015 007 From Russia with Love BLU 007 PG 3/13/2017 8/17/2002 007 James Bond: Licence to Kill DVD 007 PG-13 10/6/2015 9/15/2015 007 James Bond: On Her Majesty's Secret Service DVD 007 PG 10/6/2015 9/15/2015 007 James Bond: The Living Daylights DVD 007 PG 10/6/2015 9/15/2015 007 James Bond: The Pierce Brosnan Collection DVD 007 PG-13 10/6/2015 9/15/2015 007 James Bond: The Roger Moore Collection, vol. 1 DVD 007 PG 10/6/2015 9/15/2015 007 James Bond: The Roger Moore Collection, vol. 2 DVD 007 PG 10/6/2015 9/15/2015 007 James Bond: The Sean Connery Collection, vol. 1 DVD 007 PG 10/6/2015 9/15/2015 007 Live and Let Die BLU 007 PG 3/13/2017 8/17/2012 007 Moonraker BLU 007 PG 3/13/2017 8/17/2012 007 On Her Majesty's Secret Service DVD 007 PG 8/4/2016 5/16/2000 007 The Man with The Golden Gun BLU 007 PG 3/13/2017 8/17/2012 007 The Man with the Golden Gun BLU 007 PG 3/13/2017 8/17/2012 007 The Spy Who Loved Me DVD 007 PG 8/4/2016 10/2/2012 007 Thunderball BLU 007 PG 3/13/2017 12/19/2001 007 You Only Live Twice BLU 007 PG 3/13/2017 9/15/2015 10 Secrets for Success and Inner Peace DVD DYE Not Rated 12/2/2011 3/24/2009 Thursday, June 17, 2021 Page 1 of 231 Title Call Number MPAA Rating Date Added Release Date 10 Things I Hate About You (10th Ann DVD Edition) DVD TEN PG-13
    [Show full text]
  • Henry Jenkins Essay
    Henry Jenkins 18 Two Scenarios for the Image of the Journalist in Popular Culture in a Post-Journalistic Era By Henry Jenkins Provost Professor of Communication, Journalism, Cinematic Arts and Education University of Southern California ([email protected]) Howard Good’s rich and suggestive essay starts from a provocative premise: “The image of the journalist in popular American culture is, like the institution of journalism itself, in crisis. In fact, the image is in crisis because journalism is.” His rhetorical goal is to call attention to the current threats to professionalized and institutionalized journalism by way of discussing how genres lose meaning over time. I come to this task as someone who has spent far more time thinking about how genres work than I have spent focusing on the crisis of journalism or representations of journalists in popular culture. While I question the premise of a post- journalistic society, I want to take the threat that the institutions, norms, and practices that defined journalism throughout the 20th century may soon collapse as a starting point from which to speculate about what such a state might mean for the future representation of the journalist in popular culture. I arrive at somewhat different conclusions than Good does: The journalist would cease to be a significant presence on the screen and elsewhere in popular culture. He or she might linger in vestigial form on the periphery of the action, but an entire movie genre devoted to journalistic exploits is unlikely, to say the least, at a time when journalism itself is suffering from a terminal identity crisis.
    [Show full text]
  • Lady Dice and the Emerald Oyster Honeycomb
    Lady Dice and the Emerald Oyster Honeycomb: ! A New BlipVert and Synaesthetic Interdisciplinarity by William Northlich A thesis submitted in partial fulfillment for the requirements for the degree of Doctor of Music Department of Music University of Alberta ! William Northlich, 2019 1 Abstract As a composer, I spend hours in my studio creating dense and complex electronic music. Onstage, this music is radically transformed as I become BlipVert, a performative alter-ego which fervently remixes and alters the music, furthermore adding ancillary frenetic physical reactions to the electronic textures. BlipVert’s physicality imbues it with conspicuous synaesthetic quality: sound and vision are intimately conjoined in BlipVert performances thereby portraying BlipVert as a compelling construct of visual-music. BlipVert epitomizes my oeuvre, which is ultimately defined by what I refer to as snapshot composition: a collection of contrasting creative ideas which are exhibited as a complex of interconnected parts. My doctoral thesis composition"Lady Dice and the Emerald Oyster Honeycomb, a music-drama in five scenes for BlipVert, two percussion batteries, and two sopranos"attempts to expand BlipVert’s identity by thoroughly exploring the expressive possibilities of visual-music through various mediums: graphic scoring, interpretive conducting, color-composing, word painting, and electronic technology. Ultimately, Lady Dice and the Emerald Oyster Honeycomb represents a profound coalescence of expressive activities which formulate synaesthetic interdisciplinarity:
    [Show full text]
  • The Max Headroom Project.Fm
    The Max Headroom Project – 1 The Max Headroom Project: A Manifesto, of Sorts James Gifford, August 2005 It is in no way unreasonable to ask why anyone would plan a documentary* project about a brief 1980s media phenomenon. I'm not sure I have an answer that will stand close examination, but let me try. Understand, too, that I am writing this in some degree of igno- rance, having only misty notions of the continent I’ve set out to explore – the outlines seem clear and the major features well-marked, but that mountain range over there may well turn out to be a dragon’s tail. Let’s go see. Then… Max Headroom was a phenomenon, no question about it - but a brief phenomenon, and one as inextricably tied to its era as “I Love Lucy” and “The Brady Bunch” were to theirs. Max Headroom is, though, a phenomenon that transcended the barriers of mere television, became one of the most recognizable and imitated characterizations in TV his- tory, and did more to blur the line between reality and fiction, between reality and televi- sion, than almost any other fictive creation in modern times.** For a while, Max was ev-ev-everywhere. The television series. The US talk show. Imported glimpses of the British talk show.*** TV specials. The cover of Newsweek. And, of course, one of the biggest and most radical advertising campaigns in history. (Which failed; people did c-c-catch the wave, but soon let it go, too.) And parodies... endless parodies. “Alfred E. Headroom” on the cover of MAD Magazine.
    [Show full text]
  • Thinking Animation: Bridging the Gap Between 2D and CG the Magic of Animation
    TEAM LinG ©2007 Angie Jones and Jamie Oliff. All rights reserved. No part of Publisher and General Manager, this book may be reproduced or transmitted in any form or by any Thomson Course Technology PTR: means, electronic or mechanical, including photocopying, recording, Stacy L. Hiquet or by any information storage or retrieval system without written Associate Director of Marketing: permission from Thomson Course Technology PTR, except for the Sarah O’Donnell inclusion of brief quotations in a review. Manager of Editorial Services: The Thomson Course Technology PTR logo and related trade dress are Heather Talbot trademarks of Thomson Course Technology, a division of Thomson Learning Inc., and may not be used without written permission. Marketing Manager: Heather Hurley “OSCAR®,” “OSCARS®,” “ACADEMY AWARD®,” “ACADEMY AWARDS®,” Executive Editor: “OSCAR NIGHT®,” “A.M.P.A.S.®” and the “Oscar” design mark are trade- Kevin Harreld marks and service marks of the Academy of Motion Picture Arts and Marketing Coordinator: Sciences. All other trademarks are the property of their respective owners. Meg Dunkerly Important: Thomson Course Technology PTR cannot provide software Project Editor/Copy Editor: support. Please contact the appropriate software manufacturer’s Cathleen D. Snyder technical support line or Web site for assistance. Technical Reviewer: Thomson Course Technology PTR and the authors have attempted Scott Holmes throughout this book to distinguish proprietary trademarks from PTR Editorial Services Coordinator: descriptive terms by following the capitalization style used by the Elizabeth Furbish manufacturer. Interior Layout Tech: Information contained in this book has been obtained by Thomson Bill Hartman Course Technology PTR from sources believed to be reliable.
    [Show full text]
  • The Aesthetics of Retrieval: Beautiful Data, Glitch Art and Popular Culture
    Shaw, D. B. (2020). The Aesthetics of Retrieval: Beautiful Data, Glitch Art and Popular Culture. Anthropocenes – Human, Inhuman, Posthuman, 1(1): 13. DOI: https://doi.org/10.16997/ahip.15 RESEARCH The Aesthetics of Retrieval: Beautiful Data, Glitch Art and Popular Culture Debra Benita Shaw At a time when the meaning of democracy is challenged by the power of algorithms and the politics of misinformation what has become apparent is that the valorisation of data is the defning characteristic of contemporary digital capitalism. In the marketing of ‘Big Data’ diferent forms of visualisation (dataviz) are employed to support the claim that a series of perfect signals can be abstracted from the background noise of the world’s incessant uploading of information. At the same time, ‘glitch’ artists and musicians have developed techniques which deliberately disrupt digital signals, randomly re-assorting ordered sequences to privilege noise over signal and aestheticize error. This paper will examine glitch as an artform which deconstructs the aesthetics of dataviz at the same time as it exposes what must remain hidden for it to retain value. It will propose a critical technique through which glitch artefacts in popular culture can be employed to explore the oppositional politics of posthuman subjects. Keywords: algorithm; big data; glitch art; aesthetics; posthuman; Max Headroom; Mr Robot; Blade Runner 2049 In Rosi Braidotti and Maria Hlavajova’s Posthuman the world with a particular emphasis on how algorithmic Glossary (2018), David Theo Goldberg and Jemma Ng call processes give rise to visual data. I want to explore the for the inauguration of what they call ‘algorithmic studies representation of massive data sets, bearing in mind … the critical study of the social, political and cultural life what is compressed, elided or discarded, both in the of the algorithm’ (2018: 26–7).
    [Show full text]
  • Cyberpunk 2.0: Fiction and Contemporary (2Nd Edition, Reviewed, Translated to English and Updated)
    i i i i i i i i i i i i i i i i i i i i Herlander Elias Cyberpunk 2.0 Fiction and Contemporary LabCom Books 2009 i i i i i i i i CREDITS Publishing House: LabCom Books Covilhã, Portugal, 2009 www.livroslabcom.ubi.pt Communication Studies Series Director: António Fidalgo Cover Design: Herlander Elias (3D Figure) & Catherine Hshin (Layout) Translation: Catherine Hshin & Herlander Elias Desktop Publishing: Marco Oliveira Legal Deposit number: 296387/09 ISBN: 978-989-654-021-0 Title: Cyberpunk 2.0: Fiction and Contemporary (2nd Edition, reviewed, translated to english and updated) Copyright c Herlander Elias, Author, 2009 All rights reserved. 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, or otherwise, without the prior permission of Herlander Elias. Original First Edition (portuguese version): Title: Cyberpunk: Ficção e Contemporaneidade Distribution: Sodilivros, Lisbon, Portugal First published in 1999 by Herlander Elias Copyright c Herlander Elias, Author and Editor, 1999 i i i i i i i i In memoriam, Ana Maria Elias My Mother iii i i i i i i i i ACKNOWLEDGEMENTS Vera Lameiras, Pedro Fernandes de Almeida, Jonathan Beach, Perry, Miguel Belo, Muxima Lopo, Marcos Sá Rodrigues, Emanuel Ferreira, Luís Futre, Maria de Lurdes de Melo, Alberto de Alvim-Costa, Catarina Campino, Luís Aguiar, Franz Poelstra, Orlando Godinho, Teresa Támen, Centro Nacional de Cultura, José Pinto, Jorge Martins Rosa, António Fernando Cascais, Manuel Valente Alves, Fernando Poeiras, Rita Benamor, João Xavier, Nuno Rodrigues, Marco Silva, Kristy H.
    [Show full text]