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183 Anti-Valentine's Day Songs (2015)
183 Anti-Valentine's Day Songs (2015) 4:24 Time Artist Album Theme Knowing Me Knowing You 4:02 Abba Gold Break up Lay All Your Love On Me 5:00 Abba Gold cautionary tale S.O.S. 3:23 Abba Gold heartbreak Winner Takes it All 4:55 Abba Gold Break up Someone Like You 4:45 Adele 21 Lost Love Turning Tables 4:08 Adele 21 broken heart Rolling in the Deep 3:54 Adlele 21 broken heart All Out Of Love 4:01 Air Supply Ulitimate Air Supply Lonely You Oughta Know 4:09 Alanis Morissette Jagged Little Pill broken heart Another heart calls 4:07 All American Rejects When the World Comes Down jerk Fallin' Apart 3:26 All American Rejects When the World Comes Down broken heart Gives You Hell 3:33 All American Rejects When the World Comes Down moving on Toxic Valentine 2:52 All Time Low Jennifer's Body broken heart I'm Outta Love 4:02 Anastacia Single giving up Complicated 4:05 Avril Lavigne Let Go heartbreak Good Lovin' Gone Bad 3:36 Bad Company Straight Shooter cautionary tale Able to Love (Sfaction Mix) 3:27 Benny Benassi & The Biz No Matter What You Do / Able to Love moving on Single Ladies (Put a Ring On It) 3:13 Beyonce I Am Sasha Fierce empowered The Best Thing I Never Had 4:14 Beyonce 4 moving on Love Burns 2:25 Black Rebel Motorcycle Club B.R.M.C. cautionary tale I'm Sorry, Baby But You Can't Stand In My Light Anymore 3:11 Bob Mould Life & Times moving on I Don't Wish You Were Dead Anymore 2:45 Bowling for Soup Sorry for Partyin' broken heart Love Drunk 3:47 Boys Like Girls Love Drunk cautionary tale Stronger 3:24 Britney Spears Opps!.. -
Melodrama, Sickness, and Paranoia: Todd Haynes and the Womanâ•Žs
University of Texas Rio Grande Valley ScholarWorks @ UTRGV Literatures and Cultural Studies Faculty Publications and Presentations College of Liberal Arts Winter 2016 Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film Linda Belau The University of Texas Rio Grande Valley Ed Cameron The University of Texas Rio Grande Valley Follow this and additional works at: https://scholarworks.utrgv.edu/lcs_fac Part of the Film and Media Studies Commons, and the Modern Literature Commons Recommended Citation Belau, L., & Cameron, E. (2016). Melodrama, Sickness, and Paranoia: Todd Haynes and the Woman’s Film. Film & History: An Interdisciplinary Journal 46(2), 35-45. https://www.muse.jhu.edu/article/643290. This Article is brought to you for free and open access by the College of Liberal Arts at ScholarWorks @ UTRGV. It has been accepted for inclusion in Literatures and Cultural Studies Faculty Publications and Presentations by an authorized administrator of ScholarWorks @ UTRGV. For more information, please contact [email protected], [email protected]. Film & History 46.2 (Winter 2016) MELODRAMA, SICKNESS, AND PARANOIA: has so much appeal precisely for its liberation from yesterday’s film culture? TODD HAYNES AND THE WOMAN’S FILM According to Mary Ann Doane, the classical woman’s film is beset culturally by Linda Belau the problem of a woman’s desire (a subject University of Texas – Pan American famously explored by writers like Simone de Beauvoir, Julia Kristeva, Helene Cixous, and Ed Cameron Laura Mulvey). What can a woman want? University of Texas – Pan American Doane explains that filmic conventions of the period, not least the Hays Code restrictions, prevented “such an exploration,” leaving repressed material to ilmmaker Todd Haynes has claimed emerge only indirectly, in “stress points” that his films do not create cultural and “perturbations” within the film’s mise artifacts so much as appropriate and F en scène (Doane 1987, 13). -
The Twenty Greatest Music Concerts I've Ever Seen
THE TWENTY GREATEST MUSIC CONCERTS I'VE EVER SEEN Whew, I'm done. Let me remind everyone how this worked. I would go through my Ipod in that weird Ipod alphabetical order and when I would come upon an artist that I have seen live, I would replay that concert in my head. (BTW, since this segment started I no longer even have an ipod. All my music is on my laptop and phone now.) The number you see at the end of the concert description is the number of times I have seen that artist live. If it was multiple times, I would do my best to describe the one concert that I considered to be their best. If no number appears, it means I only saw that artist once. Mind you, I have seen many artists live that I do not have a song by on my Ipod. That artist is not represented here. So although the final number of concerts I have seen came to 828 concerts (wow, 828!), the number is actually higher. And there are "bar" bands and artists (like LeCompt and Sam Butera, for example) where I have seen them perform hundreds of sets, but I counted those as "one," although I have seen Lecompt in "concert" also. Any show you see with the four stars (****) means they came damn close to being one of the Top Twenty, but they fell just short. So here's the Twenty. Enjoy and thanks so much for all of your input. And don't sue me if I have a date wrong here and there. -
The Political Agenda of Todd Haynes's Far from Heaven Niall Richardson, University of Sunderland, UK
Poison in the Sirkian System: The Political Agenda of Todd Haynes's Far From Heaven Niall Richardson, University of Sunderland, UK Certainly Haynes's work does qualify as queer, but in the traditional sense of the word: unusual, strange, disturbing. (Wyatt, 2000: 175) Haynes "queers" heterosexual, mainstream narrative cinema by making whatever might be familiar or normal about it strange, and in the process hypothesising alternatives that disrupt its integrity and ideological cohesiveness. (DeAngelis, 2004: 41) Todd Haynes is one of the most controversial directors of contemporary cinema. From his student film Superstar: The Karen Carpenter Story (1987), to his most controversial, Poison (1991), Haynes has continually challenged spectators' expectations by making the familiar appear unfamiliar and evoking a sense of the unusual, strange, or "queer" within everyday lives. Committed to an agenda of political filmmaking, Haynes's films not only subvert Hollywood's storytelling conventions and assail the spectator with challenging images (especially Poison) but also ask the spectator to acknowledge the alienation of minority groups from mainstream society. It would, therefore, seem odd that Haynes should have recently directed Far From Heaven (2002), a homage to the melodramas of the 1950s. Unlike Haynes's other films -- Superstar, Poison, Dottie Gets Spanked (1993), Safe (1995) and Velvet Goldmine (1998) -- Far From Heaven is Haynes's first "commercial" success, popular with both mainstream audiences and critics. This paper will argue that Far From Heaven is more than simply an affectionate pastiche of Douglas Sirk's classic melodrama All That Heaven Allows (1955). Instead, Far From Heaven combines the social critique of the "Sirkian System" with the political agenda found in Poison. -
Should Big Data Change the Modelling Paradigm in Official Statistics?
Statistical Journal of the IAOS 31 (2015) 193–202 193 DOI 10.3233/SJI-150892 IOS Press “Re-make/Re-model”: Should big data change the modelling paradigm in official statistics?1 Barteld Braaksmaa,∗ and Kees Zeelenbergb aInnovation Program, Statistics Netherlands, 2490 HA Den Haag, The Netherlands bMethods and Statistical Policies, Statistics Netherlands, 2490 HA Den Haag, The Netherlands Abstract. Big data offers many opportunities for official statistics: for example increased resolution, better timeliness, and new statistical outputs. But there are also many challenges: uncontrolled changes in sources that threaten continuity, lack of identifiers that impedes linking to population frames, and data that refers only indirectly to phenomena of statistical interest. We discuss two approaches to deal with these challenges and opportunities. First, we may accept big data for what they are: an imperfect, yet timely, indicator of phenomena in society. These data exist and that’s why they are interesting. Secondly, we may extend this approach by explicit modelling. New methods like machine-learning techniques can be considered alongside more traditional methods like Bayesian techniques. National statistical institutes have always been reluctant to use models, apart from specific cases like small-area estimates. Based on the experience at Statistics Netherlands we argue that NSIs should not be afraid to use models, provided that their use is documented and made transparent to users. Moreover, the primary purpose of an NSI is to describe society; we should refrain from making forecasts. The models used should therefore rely on actually observed data and they should be validated extensively. Keywords: Big data, model-based statistics 1. -
Internalized Homophobia of the Queer Cinema Movement
San Jose State University SJSU ScholarWorks Master's Theses Master's Theses and Graduate Research Spring 2010 If I Could Choose: Internalized Homophobia of the Queer Cinema Movement James Joseph Flaherty San Jose State University Follow this and additional works at: https://scholarworks.sjsu.edu/etd_theses Recommended Citation Flaherty, James Joseph, "If I Could Choose: Internalized Homophobia of the Queer Cinema Movement" (2010). Master's Theses. 3760. DOI: https://doi.org/10.31979/etd.tqea-hw4y https://scholarworks.sjsu.edu/etd_theses/3760 This Thesis is brought to you for free and open access by the Master's Theses and Graduate Research at SJSU ScholarWorks. It has been accepted for inclusion in Master's Theses by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. IF I COULD CHOOSE: INTERNALIZED HOMOPHOBIA OF THE QUEER CINEMA MOVEMENT A Thesis Presented to The Faculty of the Department of Television, Radio, Film and Theatre San José State University In Partial Fulfillment of the Requirements for the Degree Master of Arts by James J. Flaherty May 2010 © 2010 James J. Flaherty ALL RIGHTS RESERVED The Designated Thesis Committee Approves the Thesis Titled IF I COULD CHOOSE: INTERNALIZED HOMOPHOBIA OF THE QUEER CINEMA MOVEMENT by James J. Flaherty APPROVED FOR THE DEPARTMENT OF TELEVISION, FILM, RADIO AND THEATRE SAN JOSÉ STATE UNIVERSITY May 2010 Dr. Alison McKee Department of Television, Film, Radio and Theatre Dr. David Kahn Department of Television, Film, Radio and Theatre Mr. Scott Sublett Department of Television, Film, Radio and Theatre ABSTRACT IF I COULD CHOOSE: INTERNALIZED HOMOPHOBIA OF THE QUEER CINEMA MOVEMENT By James J. -
Kevin Milburn Futurism and Musical Meaning in Synthesized
Kevin Milburn Futurism and Musical Meaning in Synthesized Landscapes Abstract The purpose of this paper is to explore how musicians engaged with a particular form of technology, the synthesizer, to create imaginative geographies of the near future. It examines the output of numerous ‘synth-pop’ acts involved in the production of this commercially successful, urban-focussed music, focussing on the period between 1977 and 1984. Attention is given to how this music both embedded and self-consciously reflected notions of futurism, a theme that, until that time, had largely been neglected in popular music. The role of earlier futuristic visionaries, such as Fritz Lang, JG Ballard and Stanley Kubrick, in shaping musicians depictions of futurism is highlighted. Throughout, the music is interpreted by situating it within the specific cultural, economic and sociotechnical realms in which it was produced. Whilst the emphasis is on debates concerning futurism that were played out within a British musical context reference is also made to related significant developments that occurred outside the UK. This paper assesses the way that notions of futurism were enrolled into electronic music in certain times and places. Naturally, in many respects, all contemporary popular music is now ‘electronic’; if not in its instrumentation then almost certainly in terms of its recording, distribution and consumption. However, my analysis of ‘electronic music’ refers to music in which electrically powered keyboard instruments, and specifically synthesizers, are to the fore of the mix, and where many of the sounds produced are clearly synthetically generated. In particular, the focus is on a form of electronic music, given the genre-label ‘synth-pop’ for marketing purposes, that was produced by artists sometimes referred to as ‘futurists’. -
Roxy Music Limited Yvonne P
Journal of Business Case Studies – Second Quarter 2005 Volume 1, Number 2 A Teaching Case Study: Roxy Music Limited Yvonne P. Shanahan, (E-mail: [email protected]), University of Canterbury, New Zealand Morris W. Shanahan, (E-mail: [email protected]), Christchurch Polytechnic Institute Technology, New Zealand BACKGROUND oxy Music Limited is a wholesale supplier of Compact Discs (CDs), Music Cassettes, Videos and, more recently DVDs, in the New Zealand music and entertainment market. All products are imported R from Germany, the United Kingdom, the United States of America or Holland. Product arrives in boxes of 1,000 units. For the purpose of this case, we are focusing on CD sales. CUSTOMERS Roxy Music distributes its products to a variety of customers, and the major difference between these customers is the volume of product which they order. Roxy Music has one large customer which is a national chain (not only of Roxy Music’s product) - Warehouse Music. Warehouse Music sells approximately 30% of the retail sales volume. This customer always buys in large quantities. For the Top 20 chart hits, they would purchase in volumes of a minimum 1,000 units often up to 10,000 units and they would purchase these quantities in either one, two or three orders, depending on the success of the charted album. They would sell 30,000 units if an Album went platinum. Warehouse Music always pay on time – 20th of the Month following and require no extra administrative effort. At the other end of the continuum, there are a number of small music stores throughout New Zealand. -
Bryan Ferry Till Furuvik I Maj 2020
Pressmeddelande 2019-11-13 BRYAN FERRY TILL FURUVIK I MAJ 2020 Den första artisten till Furuviks konsertsommar 2020 är äntligen bokad! Idag kan vi avslöja att ingen mindre än Bryan Ferry är redo att inta Furuviks Stora Scen. Ferry slog igenom med bandet Roxy Music på 70-talet och har sedan dess etablerat sig som en ikonisk och innovativ sångare och låtskrivare. Med en blandning av Sinatra, Gainsbourg och Lou Reed har Bryan Ferry alltid brutit ny mark med sin musik och vi är otroligt stolta över att få välkomna honom till Furuvik den 30 maj kl. 20.00. Med klassiska hits som ”Slave To Love” och “Let’s Stick Together” har Bryan Ferry varit ständigt närvarande inom populärmusiken. Både från starten av 70-talet med Roxy Music och med sin solokarriär som sträckt sig över tre decennier har Ferry aldrig slutat att imponera. Utöver sina egna låtar har han även förmågan att ta låtar från olika genrer och ge dem nytt liv, något som bland annat går att höra på hans rosade album ”Dylanesque” från 2007, en hyllning till Bob Dylan. – Vi är så taggade inför att äntligen kunna släppa artister inför sommaren 2020 och vilken artist att börja med! Bryan Ferry är en riktigt grym bokning och vi ser fram emot när han äntligen kliver ut på Furuviks Stora Scen, säger Nina Tano, vd på Furuvik. Bryan Ferrys senaste album ”Bitter-Sweet” släpptes 2018 och tidigare i år blev han invald i Rock and Roll Hall of Fame som medlem i Roxy Music. Den 30 maj kl. 20.00 tar han över Furuviks Stora Scen. -
TEACHERS PACK GLAM! the PERFORMANCE of STYLE 8 February – 12 May 2013
TEACHERS PACK 8 February – 12 May 2013 May –12 8 February OF STYLE GLAM! THE PERFORMANCE Peter Hujar Candy Darling on her Deathbed 1974 © The Peter Hujar Archive, LCC; courtesy Pace/MacGill Gallery, New York INTRODUCTION Glam, a visually extravagant pop style The pack is designed to support teachers and exploded across Britain during the years educators in planning a visit to the exhibition 1971–5. The exciting, futuristic sounds, with a collection of ideas, workshops and extravagant fashions and glitter-dappled points for discussion. The activities are personas emerging in this era had their suitable for all ages and can be adapted to roots firmly in British art schools. your needs before, during and after your visit. Glam! The Performance of Style is the A special school group price for exhibitions first exhibition to explore glam style is available if you book and pay at least and sensibility in depth. The exhibition two weeks in advance. Groups of students investigates artistic developments in under 18 years of age £4 and over 18s £4.40. Britain, Europe and North America through Teachers wanting to make a research trip the prism of glam, examining painting, to the exhibition in advance of a visit are sculpture, installation art, film, photography welcome to do so free of charge. Please and performance. book in advance. To book a visit please call 0151 702 7400. Bringing together more than 100 artworks, the exhibition will reveal the genealogy of For further details about visiting glam. Themes of camp, exaggerated identity, Tate Liverpool with your group see: androgyny, eroticism and dandyism will be www.tate.org.uk/learn/teachers/school-visits- explored in the work of David Hockney, tate-liverpool Andy Warhol, Cindy Sherman and many more. -
The BG News October 1, 1976
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 10-1-1976 The BG News October 1, 1976 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News October 1, 1976" (1976). BG News (Student Newspaper). 3276. https://scholarworks.bgsu.edu/bg-news/3276 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. The 313 Sews Vol. 60, No. 8 Bowling ttraan State Vnivar «itn Friday, October 1,1976 Celeste visit stresses voter awareness ByJhnSiaewski candidates during his visit. "I am taking an opportunity to get now is presiding over the Ohio which produce more Jobs. Celeste said Rhodes has spent Editorial Editor In a rooming Mass Media in a first hand lock at the firing line in Senate. He also criticized the governor for millions of dollars constructing Politics class. Celeste stressed the the social services areas," he said. Celeste also said he was disap- not applying for federal solar energy buildings, highways and other U. Gov. Richard F. Celeste visited importance of college student par- Sitting behind a desk in Columbus pointed that Gov. Rhodes has not grants which would have brought projects that people can see, rather the University yesterday to ticipation in the political process. -
“Re-Make/Re-Model”: Should Big Data Change the Modelling Paradigm in Official Statistics?
Munich Personal RePEc Archive “Re-make/Re-model”: Should big data change the modelling paradigm in official statistics? Braaksma, Barteld and Zeelenberg, Kees Statistics Netherlands, Statistics Netherlands 2015 Online at https://mpra.ub.uni-muenchen.de/87741/ MPRA Paper No. 87741, posted 26 Jul 2018 12:22 UTC Statistical Journal of the IAOS 31 (2015) 193–202 193 DOI 10.3233/SJI-150892 IOS Press “Re-make/Re-model”: Should big data change the modelling paradigm in official statistics?1 Barteld Braaksmaa,∗ and Kees Zeelenbergb aInnovation Program, Statistics Netherlands, 2490 HA Den Haag, The Netherlands bMethods and Statistical Policies, Statistics Netherlands, 2490 HA Den Haag, The Netherlands Abstract. Big data offers many opportunities for official statistics: for example increased resolution, better timeliness, and new statistical outputs. But there are also many challenges: uncontrolled changes in sources that threaten continuity, lack of identifiers that impedes linking to population frames, and data that refers only indirectly to phenomena of statistical interest. We discuss two approaches to deal with these challenges and opportunities. First, we may accept big data for what they are: an imperfect, yet timely, indicator of phenomena in society. These data exist and that’s why they are interesting. Secondly, we may extend this approach by explicit modelling. New methods like machine-learning techniques can be considered alongside more traditional methods like Bayesian techniques. National statistical institutes have always been reluctant to use models, apart from specific cases like small-area estimates. Based on the experience at Statistics Netherlands we argue that NSIs should not be afraid to use models, provided that their use is documented and made transparent to users.