Orange Coast Pilot[Icon]
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
JYP Entertainment (035900 KQ ) Margin Recovery in 3Q19 Will Be Key
JYP Entertainment (035900 KQ ) Margin recovery in 3Q19 will be key Entertainment 2Q19 review: OP slightly misses expectations, at W9.4bn Results Comment For 2Q19, JYP Entertainment announced consolidated revenue of W39.2bn (+24.1% YoY; all growth figures hereafter are YoY) and operating profit of W9.4bn (+3.9%). Operating profit was August 16, 2019 slightly below our estimate (W10.3bn) and the consensus. Revenue growth continued to be driven by the content (+40% for album/digital music) and global digital (+52% to W1.3bn for YouTube revenue) segments , and the monetization of new artists also gained traction. That said, margins contracted due to increased artist royalties and management costs (gross margin fell 4.6%p to 43.7%). While the decline was modest, these costs are affected by a (Maintain) Buy number of factors, including the terms of individual artist contracts, leverage effects from album sales, and overseas schedules. We advise keeping a close eye on any structural changes Target Price (12M, W) ▼ 28,000 through 3Q19, when revenue from TWICE’s dome tour is likely to be recognized. Share Price (08/14/19, W) 18,800 Album/digital music revenue grew 40% to W14.7bn. Album sales included 400,000 copies of TWICE’s new album, 300,000 copies of GOT7’s mini album, and 160,000 copies of Stray Kids ’ special album. Global digital music revenue grew 54% to W2bn, which included sales from the Expected Return 49% distribution partnership with The Orchard (less than W0.3bn). Concert revenue dipped 34% to W4.7bn, as attendance declined as a result of the absence of TWICE and GOT7 concerts in Japan. -
The Rise of Pop
Expos 20: The Rise of Pop Fall 2014 Barker 133, MW 10:00 & 11:00 Kevin Birmingham (birmingh@fas) Expos Office: 1 Bow Street #223 Office Hours: Mondays 12:15-2 The idea that there is a hierarchy of art forms – that some styles, genres and media are superior to others – extends at least as far back as Aristotle. Aesthetic categories have always been difficult to maintain, but they have been particularly fluid during the past fifty years in the United States. What does it mean to undercut the prestige of high art with popular culture? What happens to art and society when the boundaries separating high and low art are gone – when Proust and Porky Pig rub shoulders and the museum resembles the supermarket? This course examines fiction, painting and film during a roughly ten-year period (1964-1975) in which reigning cultural hierarchies disintegrated and older terms like “high culture” and “mass culture” began to lose their meaning. In the first unit, we will approach the death of the high art novel in Thomas Pynchon’s The Crying of Lot 49, which disrupts notions of literature through a superficial suburban American landscape and through the form of the novel itself. The second unit turns to Andy Warhol and Pop Art, which critics consider either an American avant-garde movement undermining high art or an unabashed celebration of vacuous consumer culture. In the third unit, we will turn our attention to The Rocky Horror Picture Show and the rise of cult films in the 1970s. Throughout the semester, we will engage art criticism, philosophy and sociology to help us make sense of important concepts that bear upon the status of art in modern society: tradition, craftsmanship, community, allusion, protest, authority and aura. -
Andy Warhol: When Junkies Ruled the World
Nebula 2.2 , June 2005 Andy Warhol: When Junkies Ruled the World. By Michael Angelo Tata So when the doorbell rang the night before, it was Liza in a hat pulled down so nobody would recognize her, and she said to Halston, “Give me every drug you’ve got.” So he gave her a bottle of coke, a few sticks of marijuana, a Valium, four Quaaludes, and they were all wrapped in a tiny box, and then a little figure in a white hat came up on the stoop and kissed Halston, and it was Marty Scorsese, he’d been hiding around the corner, and then he and Liza went off to have their affair on all the drugs ( Diaries , Tuesday, January 3, 1978). Privileged Intake Of all the creatures who populate and punctuate Warhol’s worlds—drag queens, hustlers, movie stars, First Wives—the drug user and abuser retains a particular access to glamour. Existing along a continuum ranging from the occasional substance dilettante to the hard-core, raging junkie, the consumer of drugs preoccupies Warhol throughout the 60s, 70s and 80s. Their actions and habits fascinate him, his screens become the sacred place where their rituals are projected and packaged. While individual substance abusers fade from the limelight, as in the disappearance of Ondine shortly after the commercial success of The Chelsea Girls , the loss of status suffered by Brigid Polk in the 70s and 80s, or the fatal overdose of exemplary drug fiend Edie Sedgwick, the actual glamour of drugs remains, never giving up its allure. 1 Drugs survive the druggie, who exists merely as a vector for the 1 While Brigid Berlin continues to exert a crucial influence on Warhol’s work in the 70s and 80s—for example, The Philosophy of Andy Warhol , as detailed by Bob Colacello in the chapter “Paris (and Philosophy )”—her street cred. -
Cultural Production in Transnational Culture: an Analysis of Cultural Creators in the Korean Wave
International Journal of Communication 15(2021), 1810–1835 1932–8036/20210005 Cultural Production in Transnational Culture: An Analysis of Cultural Creators in the Korean Wave DAL YONG JIN1 Simon Fraser University, Canada By employing cultural production approaches in conjunction with the global cultural economy, this article attempts to determine the primary characteristics of the rapid growth of local cultural industries and the global penetration of Korean cultural content. It documents major creators and their products that are received in many countries to identify who they are and what the major cultural products are. It also investigates power relations between cultural creators and the surrounding sociocultural and political milieu, discussing how cultural creators develop local popular culture toward the global cultural markets. I found that cultural creators emphasize the importance of cultural identity to appeal to global audiences as well as local audiences instead of emphasizing solely hybridization. Keywords: cultural production, Hallyu, cultural creators, transnational culture Since the early 2010s, the Korean Wave (Hallyu in Korean) has become globally popular, and media scholars (Han, 2017; T. J. Yoon & Kang, 2017) have paid attention to the recent growth of Hallyu in many parts of the world. Although the influence of Western culture has continued in the Korean cultural market as well as elsewhere, local cultural industries have expanded the exportation of their popular culture to several regions in both the Global South and the Global North. Social media have especially played a major role in disseminating Korean culture (Huang, 2017; Jin & Yoon, 2016), and Korean popular culture is arguably reaching almost every corner of the world. -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family. -
ACTING out Rowan University Art Gallery January 20 – March 12, 2011
ACTING OUT Rowan University Art Gallery January 20 – March 12, 2011 Nina Katchadourian Fahamu Pecou Nancy Popp Shana Robbins ACTING JoeOUT Sola Jaimie Warren Curated by Stuart Horodner A child is told that he or she cannot have a slice of cake and Nina Katchadourian’s discipline-bending work is investigative, then proceeds to scream and cry for several minutes. playful, and precise. She is as comfortable in a library This is a disproportionate response, and acting out conduct sorting books to find latent meanings in their titles as is understood to operate in the gap between desire and she is in rewiring automobiles to emit alarm sounds in disappointment. The words acting and out combine to the form of bird calls. In the passport-sized photograph, imply public displays and testing of wills, with young- Self-Portrait as Sir Ernest Shackleton (2002), she attaches two cat- sters flailing about or holding their breath until an au- erpillars to her upper lip and dons a fluffy white sweater thority figure asserts that “No means no,” and a “time and cap to play with gender while honoring an intrepid explorer. out” is required. Troubled protagonists are sent to their rooms Her video, Mystic Shark (2007), was shot in a hotel room to consider their unacceptable behavior. in Connecticut, and shows the artist holding up a blue book with a line drawing of a shark on it, telegraphing When artists are faced with frustrations over unmet her intention to become like this predatory creature. She wants, their outbursts usually take the form of renewed then proceeds to earnestly try and outfit her mouth with several dedication and persistent production. -
Keith Haring's Door, Andy Warhol's Moose & Christo's Gates
For Immediate Release Contact: Sydney Masters [email protected] | (212)-987-6804 Keith Haring’s Door, Andy Warhol’s Moose & Christo’s Gates & Rare Rolls Royce to be auctioned by Guernsey’s May 12 New York, NY – April 12, 2021 – A graffiti tagged Refrigerator Door and mounted Moose Head are among the unique items belonging to iconic artists Keith Haring, Andy Warhol and Christo that will be sold at Guernsey’s “Urban Gems” Auction on Wednesday, May 12, 2021. During his rise to fame in the 1980s, Haring’s walkup apartment in SoHo became the hub of New York City’s art scene. Drenched in a wild array of Haring’s signature images and colors, it was the “place to be” for superstars, including Warhol, Jean-Michel Basquiat, Madonna and more Graffiti artists than could fill a subway car. Haring’s sign-in “guest register” … his Refrigerator Door! That Door, complete with Haring’s own writing and art along with “Madonna loves Keith,” “JM" (Jean-Michel) and over 82 more tags will be sold without reserve in an unprecedented Urban Gems Auction that will also include Andy Warhol’s statuesque mounted Moose Head. Often pictured together, Warhol and the Moose appeared prominently in the New York Times back in 2018. A portion of the proceeds from the sale of the Moose will go in support of the ASPCA. In February 2005, a saffron-colored wave swept over New York City as the artist known as Christo used Central Park as his pallet, creating his now famous 23-mile long exhibition - The Gates - that captivated the hearts of many urbanites. -
Coca-Cola 2020 World Without Waste Report
2020 World Without Waste Report THE COMPANY Introduction Design Collect Partner What’s Next Assurance Statement Design Make 100% of our packaging recyclable globally by 2025—and We have a responsibility to help solve the global use at least 50% recycled material plastic waste crisis. That’s why, in 2018, we in our packaging by 2030. launched World Without Waste—an ambitious, sustainable packaging initiative that is creating systemic change by driving a circular economy Collect for our bottles and cans. Collect and recycle a bottle or can for each one we sell by 2030. The World Without Waste strategy has signaled a renewed focus on our entire packaging lifecycle—from how bottles and cans are Partner designed and produced to how they’re recycled Bring people together to and repurposed—through a focus on three support a healthy, debris-free environment. fundamental goals: Our sustainability priorities are interconnected, so we approach them holistically. Because packaging accounts for approximately 30% of our overall carbon footprint, our World Without Waste strategy is essential to meeting our Science-Based Target for climate. We lower our carbon footprint by using more recycled material; by lightweighting our packaging; by focusing on refillable, dispensed and Coca-Cola Freestyle solutions; by developing alternative packaging materials, such as advanced, plant-based packaging that requires less fossil fuel; and by investing in local recycling programs to collect plastic and glass bottles and cans so they can become new ones. This is our third World Without Waste progress report (read our 2018 and 2019 reports). Three years into this transformational journey, the global conversation about plastic pollution—and calls for urgent, collaborative action—are intensifying. -
ASPIRATION Journal Vol.1(2) November 2020, P.208-228 E-ISSN : 2723-1461
ASPIRATION Journal Vol.1(2) November 2020, p.208-228 E-ISSN : 2723-1461 ASPIRATION (ASPIKOM Jabodetabek International Research Journal of Communication) Journal homepage: www.aspiration.id/index.php STUDYING FANDOM ONLINE: A CASE STUDY OF TWICE and STRAY KIDS FANDOM ON FAN FICTION PRACTICES OF @ESKALOKAL AND @GABENERTWICE ON TWITTER Cendera Rizky Anugrah Bangun1*, Nareswari Kumaralalita2, Gabriela Frederika Febe Sukur3 1 Universitas Multimedia Nusantara, Jl. Scientia Boulevard, Gading Serpong, Tangerang Banten, 15811 2 LSPR Communication & Business Institute, Jl. K.H Mas Manyur Kav. 35, DKI Jakarta 10220 3 University of China, 1 Dingfuzhuang E St, Chaoyang, Beijing, China 1*[email protected], [email protected], [email protected] ARTICLE INFO ABSTRACT Received on July 21st, 2020 Popular culture is developing over time Received in revised from August 2 nd, 2020 Accepted November 22th, 2020 and fan fiction is product of popular Published on November 30th, 2020 culture. Furthermore, fan fiction is a work of fiction created by fans as a sense of involvement between them and Keywords: Fan fiction their idols. In addition to creating a Fandom sense of "closeness" with his idol, fan Popular culture fiction can also provide a feeling of Alternate universe K-pop satisfaction for fans who want an ending or even a whole new world for their idols. Alternate Universe (AU) is quite popular as one of the characteristics How to cite this article: Bangun, C.R.A; Nareawari, from Fan Fiction. Fan fiction usually has K; & Sukur, G.F.F (2020). Online Fan Fiction: Social Media Alternative Universe Practices on Twitter a fairly long format, with platforms like @Eskalokal and @Gaberntwice. -
Flames Damage Cars 'She Never Lost Her Optinitiata I M4111:111 Said
SPARTAN D4II4Y VOLUME 125, NUMBER 56 Serving San Jose State Cniversity sitise 1934 \ VI:DNESDAY, DECEMBER 7. 2005 Supergrass CD,Re\ iev Dieting done right A&E"-tle 7 _ , " Opinion Page 2 Seventh Street garage fire Philosophy prof. to be remembered BY JOHN MYERS -"cs,! . Ruth Math, ties cr lett her. not even after becoming ill with an i nun tmitt,' sy stein disease. "()ite ot the last e mails she sent nie was one that -aid. 'I has e no immune isc l'in great.... said Rita rvlanning, chair of the philosoph department al San Jose State I nisersity Manor. a tinnier 5.111I philosoph prolessor. shed Nuns 13 in 'ICI Avis. Israel. at the disease %it'll., slow n her body's natural defenses. She had taught In philosophy at SJSII since 1981 and also taught classes an tel As is Iniversity. The philossphy department v% ill be holding a memo rial ser% ice for Manor at I p.m. Friday at the Spartan Memorial. "She 110 er slid quit working." Manning said "When she ..is at Kaiser hospital lint San Jose'. in miens's,- care. she insisted on bringing her laptop." \lainor sets cd :is interim chair ot the pltilo,opliv the imminent on two separate k ill 10K8 and (102 said -support coonlina tor for IIIC She s tmnui .n said. -AllII1111!2 111.11 Canis' lip 55.15 IICScl .1 Crusts .IISSfIS had a ere e, posit is e ss,ms tnt 1., ,king. it. - DIANA DIHOY DAILY SIAFF I oil Taidittan. .1,1111)2 associate dean of the College of San Jose Fire Department Captain Angela Jacobs writes down the license plate numbers of cars that were damaged by a car that caught on Humanities and tins' Ails. -
Oct-2015-National-Newsletter.Pdf
The Collectors Club, Inc. Calendar of Events PMB 609, 4780 Ashford Dunwoody Rd., Suite A, Atlanta, GA 30338 Pause on the Prairie VI 2015-17 EXECUTIVE BOARD ___________________________________________________________________________________ Paws in the Jungle President Vice President Secretary Oct 15 - 17, 2015 Dan Deane Elizabeth Wright Hilda King Wichita, KS 720 Avery Street 1465 Derby Country Cres P.O. Box 1706 San Bernadino, CA 92404 Oakville ON L6M 4N9 Apopka, FL 32706 Choo Choo Connection 909-882-2240 905-847-0569 407-814-7430 November 12-14, 2015 [email protected] [email protected] [email protected] Chattanooga, TN ___________________________________________________________________________ Minnefest Treasurer Publications Director Merchandise Director October 23 -24, 2015 Charlotte Segovia Rob Mathison John Waddell 2360 Melrose Trace 2720 Reagan Street, #205 686 Antioch Rd Minneapolis, MN Cumming, GA 30041 Dallas, TX 75219 Cedartown, GA 30125 770-844-0097 214-929-0555 770-749-0087 Florida Fun Fest [email protected] [email protected] [email protected] January 27-30, 2016 ________________________________________________________________________________ Lake Buena Vista, FL Membership Director East District Rep. West District Rep. Great Get Together Janet Noterman Steve Brumbelow Clint Dougherty February 11-14, 2016 1636 Holeman Dr. 1755 Berkshire Ct. 901 W. Margaret Ave Ontario, CA Erie, CO 80516 Snellville, GA 30078 Ridgecrest, CA 93555 303-665-2207 770-841-0739 760-793-5909 Tex Fest -
Andy Warhol. CARS. MAC Museum Art & Cars, Singen 26 October 2014
Andy Warhol. CARS. MAC Museum Art & Cars, Singen 26 October 2014 – 17 May 2015 A co-operation with the Daimler Art Collection, Stuttgart/Berlin and Mercedes-Benz Classic, Stuttgart The exhibition "Andy Warhol. Cars" at the MAC – Museum Art & Cars Singen presents the Pop-artist's significant picture series from the Daimler Art Collection in a unique dialogue with historical sports cars. The Cars series has been on display in important museums around the world. In 2010 the entire series was exhibited at the Museum Albertina Wien – but without the original historical cars. The show at the MAC – Museum Art & Cars will contrast 40 pictures from the Cars series with selected models from the Mercedes-Benz Classic Collection, such as the Formula-1 racing car W196 R, the 300 SL "Gullwing" or the experimental car C 111, and continues the museum's unique exhibition concept of establishing a dialogue between art, automobile and architecture. Alongside the history of the Cars series, the exhibition questions Warhol's significance in the field of commissioned art and the link between art and product design. As a well known and rooted venue in the region and beyond, the MAC – Museum Art & Cars contributes again with this exhibition to an exchange of ideas on art in the context of an automobile culture. The MAC – Museum Art & Cars Singen, located in a beautiful countryside, opened its doors to the public in 2013 after ten years of planning and two years of building activity. To bring together cars and art in a unique museum was a primary concern for the founders, Hermann Maier and Gabriele Unbehaun-Maier.