DOCSLIB.ORG

PRISON BOWL XI: WE LOVE NO FISH Head Edited by Chloe Levine

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PRISON BOWL XI: WE LOVE NO FISH Head Edited by Chloe Levine PRISON BOWL XI: WE LOVE NO FISH Head Edited by Chloe Levine. Vice Head Edited by Gilad Avrahami and Daniel Ma. Section Edited by Chloe Levine, Gilad Avrahami, Daniel Ma, Sam Brochin, and Rachel Yang. Written by Hunter College High School Quiz Bowl (Chloe Levine, Gilad Avrahami, Daniel Ma, Sam Brochin, Rachel Yang, Ben Chapman, Asher Jaffe, Ella Leeds, Alice Lin, Brian Lu, Cerulean Ozarow, Abishrant Panday, David Godovich) with help from Matthew Lehmann (Chicago). Special thanks to Tadhg Larabee (Richard Montgomery), Ms. Caitlin Samuel, Mr. Ross Pinkerton, Lily Goldberg, Ms. Lindsay Samuel, Julia Tong (Darien), and Finnegan the Dog. PACKET SEVEN Tossups 1. One of this composer’s orchestral works begins with an eleven-note chord that leaves out a C-sharp from the tone row. This composer of Inscape and Piano Variations used two movements linked by a cadenza in a work ​ ​ ​ ​ for strings, harp, piano, and the soloist, a clarinet. In another work, woodwinds and brass underscore a narrator who reads, (*) “We cannot escape history.” This composer was inspired by a Henry A. Wallace speech to ​ write one work for brass and percussion to honor American soldiers, and he also wrote the Lincoln Portrait. For 10 ​ ​ points, name this American composer of Fanfare for the Common Man, as well as the ballets Rodeo and ​ ​ ​ ​ Appalachian Spring. ​ ANSWER: Aaron Copland <GA> ​ ​ 2. Dividing this quantity by the momentum of a massive particle yields the de Broglie wavelength. The change in position of a particle times its change in momentum is greater than or equal to one over four pi times this quantity. (*) Heisenberg’s Uncertainty Principle includes a quantity equal to this quantity divided by two pi, its ​ “reduced” form. This quantity’s namesake was responsible for proving that the negative fifth power of wavelength is proportional to blackbody radiation. For 10 points, name this quantity symbolized h, which is named for the German father of quantum theory. ANSWER: Planck’s constant [prompt on h until mention; do not accept or prompt on “h bar” or “reduced Planck’s ​ ​ ​ ​ constant”; do not accept or prompt on “Planck” alone as this is a unit] <AJ> 3. Adherents of this religion celebrate a day of silence and meditation called Mauna Agaryas. In this religion, objects belong to a dravya and adherents to this religion believe that reality is made up of seven or nine tattvas. According to this religion, after death, the soul is reincarnated into one of (*) four kingdoms: celestial, ​ ​ ​ human, animal or plant, and infernal. Monks and nuns in this religion may wear mouth covers and carry brooms with them. The adherents of this religion believe in a series of 24 tirthankaras. For 10 points, name this religion ​ ​ whose adherents practice ahimsa and whose founder was the Mahavira. ANSWER: Jainism [accept Jain Dharma] <AJ> ​ ​ ​ ​ 4. A friend of this character tells Marthe her husband has died after leaving a box of jewelry at another woman’s house. Advisors to this character include Valdes and Cornelius, and in one scene, this character declares, “If we say that we have no sin, / We deceive ourselves.” When this character cuts his arm, over the wound, the (*) Latin words “Homo, fuge!” appear. He’s not Rabbit, but this character’s love interest drowns her ​ child and is named Gretchen, and a poodle follows him home and turns into Mephistopheles. For 10 points, identify this character who titles works by Thomas Mann, Christopher Marlowe, and Johann Wolfgang von Goethe, a man who makes a deal with the devil. ANSWER: Faust [or Doctor Faustus or Doktor Faustus; generously prompt on Adrian Leverkühn] ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ 5. One group in this country is thought to be controlled by a man nicknamed “The Professor” and is called the Black Eagles. This country is home to the ELN, or National Liberation Army. This country’s First Search Bloc worked with Los Pepes in the 1990s against one (*) criminal. In 2002, twelve government officials from this ​ country’s department of Valle del Cauca were kidnapped by an insurgent group opposed by Álvaro Uribe. In 2016, this country which experienced La Violencia rejected a peace deal with that group, its namesake Revolutionary Armed Forces, or FARC. For 10 points, name this South American country with capital at Bogotá. ANSWER: Republic of Colombia [accept República de Colómbia ] <AJ/CL> ​ ​ 6. This mythological figure committed suicide in a manner similar to a real-life king of Phrygia with the same name, which, according to some sources, was drinking an ox’s blood. A group of talking reeds which grew in a meadow whisper a secret this figure kept hidden with a turban. This figure hosted the lost and drunk satyr Silenus for ten days and was rewarded by (*) Dionysus. This figure was cursed by Apollo when he thought a ​ victory against Marsyas was unfair, and was given the ears of a donkey. This king reversed a certain gift by putting his fingers in running water after he accidentally turned his daughter into a statue. For 10 points, name this king with the golden touch. ANSWER: Midas <RY> ​ ​ 7. A song about one these objects likely uses them as a metaphor for Emily West, a woman who legendarily slept with Santa Anna during the Battle of San Jacinto. The Cherokee widely distributed their namesake variety of these objects, a Georgia state symbol. An annual “Tournament” of these objects runs in (*) Pasadena, ​ California. A double-overtime Georgia win occurred in a horseshoe-shaped stadium named for these objects, which holds the oldest college football game called its “bowl.” For 10 points, name this U.S. national flower whose “water” is often used to flavor food, often given to loved ones on Valentine’s Day. ANSWER: roses [accept Rosa; prompt on flowers until mentioned; do not accept “Rosaceae”] <DM> ​ ​ ​ ​ ​ ​ 8. The Norrland terrain is mostly within this biome which contains krumholtz vegetation at its northern boundary. Acid-tolerant plants thrive in this biome’s podzol, and many plant species in this biome are pioneers because of its high-intensity crown fires. In a notable phenomenon in this biome, Picea mariana ​ cease to stand (*) vertically and are thus called “drunken trees.” Animals which live in this biome include ​ wolverines, lynxes, and reindeer, and at the tree line, it meets the tundra. For 10 points, name this chilly biome sometimes known as snow forest. ANSWER: taiga [accept boreal forest; accept snow forest until mention; prompt on forest until mention] <AJ> ​ ​ ​ ​ ​ ​ ​ ​ 9. This thinker ended one work with “The Meaning of All This,” which proposes solutions for the Seventh Ward of Philadelphia. Eric Foner noted that this thinker broke with the Dunning School with his history of Reconstruction, and one work by this thinker includes “sorrow songs.” This thinker wrote that the (*) ​ “color-line” was the “problem of the twentieth century,” and argued for leadership by the Talented Tenth. This thinker coined a term for oppressed groups seeing themselves through oppressive eyes, “double consciousness,” and opposed the Atlanta Compromise of Booker T. Washington. For 10 points, name this African American sociologist behind The Souls of Black Folk. ​ ​ ANSWER: W. E. B. Du Bois [or William Edward Burghardt Du Bois] <CL> ​ ​ ​ ​ 10. In one work by this author, a pair of young children deliver love letters sent between Uncle Maury and Mrs. Patterson. A character created by this author pretends to be a doctor and gives a woman turpentine after taking advantage of her need for an abortion. This creator of the pharmacist MacGowan and (*) Dewey Dell ​ wrote a short story in which a gray hair is found beside Homer Barron’s corpse and set many works in a fictional Mississippi county named Yoknapatawpha. In addition to A Rose for Emily, this author wrote a work about the ​ ​ Bundrens and several about the Compsons. For 10 points, name this American author of As I Lay Dying and The ​ ​ ​ Sound and the Fury. ​ ANSWER: William (Cuthbert) Faulkner <CL> ​ ​ 11. One work by an artist associated with this city features a short man with a green parrot on his arm at a wedding. It’s not Antwerp, but two peacocks sit at the right of a painting by an artist associated with this city, in which Heracles suckles at Hera’s breast, resulting in The Origin of the Milky Way. An artist associated with ​ ​ this city painted a Biblical scene lit from the left with a (*) diagonal table. The first reclining nude in Western ​ painting is associated with this city, as is the artist behind Sacred and Profane Love and the Venus of Urbino. For 10 ​ ​ ​ ​ points, name this Italian city associated with Tintoretto, Giorgione, and Titian from its namesake school of painting, home to many canals. ANSWER: Venice [accept Venetian school (of painting); accept Venezia or Venesia] <CL> ​ ​ ​ ​ ​ ​ ​ ​ 12. A work often paired with this work describes a hunter “holding the Wolf in chace,” and this work was originally published under the pen name Glirastes in Leigh Hunt’s The Examiner. This work is frequently ​ ​ compared to one also based on the work of Diodorus Siculus which imagines a character wondering “What powerful but unrecorded race / Once dwelt in that annihilated place” and was written by (*) Horace Smith. ​ This work describes a “shattered visage” and a “sneer of cold command” as seen by a “traveller from an antique land” reading the inscription, “Look on my works, ye Mighty, and despair!” For 10 points, name this poem about a ​ ​ “King of Kings,” a work by Percy Bysshe Shelley. ANSWER: “Ozymandias” <BL/CL> ​ ​ 13. One festival in this country which partially celebrates Catherine Cheynel, L’Escalade, commemorates a defeat of Charles Emmanuel I. One military leader from this country won the Sonderbund War and later founded an organization with Henry Dunant.
Load more

Recommended publications
  • Portland Daily Press: March 23,1886
    DAILY PRESS. PORTLANDI. lil, f ——■—^ Libtnry CENTS. ESTABLISHED JUNE 23, 1862—VOL. 23. PORTLAND, TUESDAY MORNING, MARCH 23, 1886. M.M PRICE THREE Mr» John D. Tilton of Hill has GORHAM. SPECIAL NOTICES. THE PORTLAND DAILY PRESS, FROM WASHINGTON. BROADWAY SURFACE FRAUDS. THE PAN ELECTRIC. FOREIGN. Rocky rented the farm of Simon Mayberry In this Published every day (Sundays excepted) by the A Day of Interest with the COMPANY, March 22.—The examina- village, and will establish a milk route. Stephen- INSURANCE. PORTLAND PUBLISHING Mr. to be Washikotox, Germans and Jews Expelled from Dunn's Free Iron Ships Bill Alderman Jaehne Arraigned and of Dr. sons nnd AT 97 Exchange Street. Portlajtd, Me. tion of Casey Young was resumed beforo Memorial services on the death Descendants of the Long- Reported to the House. Held In Poland. Cross W.D. Address aB communications to sas.OOO. the telephone Investigating committee this Morgan, a high official in the Golden fellow Family. LITTLE & PORTLAND PUBLISHING OO. after the will soon be held the members of CO., afternoon. Young said that first order, by the kind 31 Through Invitation of Mr. Ste- EXCHANGE Mr. a directors of the An Conflict Between Troops the in this and Cumberland STREET, Dingley Wants the Free Material! How Public Spirited Woman Se* meeting of the board of Pan Open Commandery L. of KHiablishetl iu 1M.J. THE WEATHER. phen Stephenson Gorham, the writer Section a Bill. cured Electric when It had been agreed and Miners In Belgium. Mills village. Rsllable Insurance Reported in Separate Jaehne’s Confession. Company, Rioting was privileged to visit the old farm house against Flro or in first sold on Mr.
    [Show full text]
  • By Philip Roth
    The Best of the 60s Articles March 1961 Writing American Fiction Philip Roth December 1961 Eichmann’s Victims and the Unheard Testimony Elie Weisel September 1961 Is New York City Ungovernable? Nathan Glazer May 1962 Yiddish: Past, Present, and Perfect By Lucy S. Dawidowicz August 1962 Edmund Wilson’s Civil War By Robert Penn Warren January 1963 Jewish & Other Nationalisms By H.R. Trevor-Roper February 1963 My Negro Problem—and Ours By Norman Podhoretz August 1964 The Civil Rights Act of 1964 By Alexander M. Bickel October 1964 On Becoming a Writer By Ralph Ellison November 1964 ‘I’m Sorry, Dear’ By Leslie H. Farber August 1965 American Catholicism after the Council By Michael Novak March 1966 Modes and Mutations: Quick Comments on the Modern American Novel By Norman Mailer May 1966 Young in the Thirties By Lionel Trilling November 1966 Koufax the Incomparable By Mordecai Richler June 1967 Jerusalem and Athens: Some Introductory Reflections By Leo Strauss November 1967 The American Left & Israel By Martin Peretz August 1968 Jewish Faith and the Holocaust: A Fragment By Emil L. Fackenheim October 1968 The New York Intellectuals: A Chronicle & a Critique By Irving Howe March 1961 Writing American Fiction By Philip Roth EVERAL winters back, while I was living in Chicago, the city was shocked and mystified by the death of two teenage girls. So far as I know the popu- lace is mystified still; as for the shock, Chicago is Chicago, and one week’s dismemberment fades into the next’s. The victims this particular year were sisters. They went off one December night to see an Elvis Presley movie, for the sixth or seventh time we are told, and never came home.
    [Show full text]
  • Does K-Pop Reinforce Gender Inequalities? Empirical Evidence from a New Data Set
    Asian Women December 2017, Vol. 33, No. 4, pp. 27-54 Does K-pop Reinforce Gender Inequalities? Empirical Evidence from a New Data Set Xi Lin Korea University, Korea Robert Rudolf Korea University, Korea Abstract As K-pop has become a cultural ambassador for Korea, attracting millions of fans across the globe, the sexist portrayal of both female and male idols in K-pop products stands in conflict with the gender-mainstreaming policies to which the country has committed itself. Using a unique and newly collected data set of 6,317 K-pop fans from 100 countries around the world, this study examines the relationship between individual K-pop consumption and gender attitudes of K-pop fans. Findings suggest that a higher level of spending on K-pop related items and activities is related to less egalitarian gender attitudes. Interestingly, this correlation is stronger for fans from already less gender-equal nations. Results indicate that the industry that is actively promoted by the Korean government includes elements that might reinforce a sexist culture and traditional gender roles both within Korea and around the globe, further obstructing women’s pursuit of equal opportunities. Key words K-pop, sexism, sexual objectification, gender stereotypes, gender attitudes Introduction Since the late-2000s, the Korean pop music industry (K-pop), as part of the larger Korean Wave (Hallyu) phenomenon, has experienced un- precedented international success. With K-pop fans as the mainstay of the increasing Hallyu fan base, which just reached 59.4 million in 2016 (The Korea Foundation, 2017), the rise of K-pop has not only brought in hun- dreds of millions of dollars in music export revenue for Korea (KOCCA, 2016; Yonhap, 2016) but has also contributed to the boom of Korea’s cos- metic, fashion, tourism as well as plastic surgery industries.
    [Show full text]
  • Download Print Version (.Pdf)
    HSocial ISSUE Hot Hot Summer: Sizzling it up with more provocative K-pop By James Turnbull Summer’s heating up outside and on-screen, where K-pop’s girl groups have been shedding even more clothes than normal. !e public debate has reached new heights, with critics pointing to ex- cessive female objecti"cation. But, as James Turnbull points out, the controversy is nothing new. K-pop girl group After School swinging around stripper which featured pelvic thrusts from RaNia and the Brave Girls, as poles, grabbing their crotches and singing wet and topless well as 4Minute’s notorious “Wide Leg Spread Dance” for “Mir- in “First Love”? Dal Shabet ripping their skirts open to reveal ror Mirror”. skin tight pants for “Look At My Legs”? Long, lingering close- It is true that there have been more cases than normal recent- ups of BIKINY’s breasts and panties for “Please Accept Me”? ly, with management companies of boy bands openly wonder- These examples are just a small sampling of what you can see ing how their employees can compete for attention. But that is on Korean music channels this summer, in what has widely been precisely the point: with a constant glut of new groups debut- described as an unprecedented, unacceptable pornification of ing, legal downloads costing less than a tenth of their iTunes K-pop. Predictably, many netizens have been slut-shaming the counterparts, and an ensuing overdependence on commercial girl groups involved, whereas more discerning critics have gen- endorsements, the Korean music industry has long been predi- erally complained of their excessive sexual objectification, and/ cated on using sex—and anticipated bans—to keep groups in or portrayed them as victims of their management companies.
    [Show full text]
  • DP MD EN V4.Indd
    MUSÉE CANTONAL DES BEAUX-ARTS LAUSANNE Press kit Maurice Denis. Amour 12.2 – 16.5.2021 Contents 1. Press release 2. The exhibition 3. Press images 4. Comments on 6 presented works 5. Public engagement – Public outreach services 6. Book and Giftshop – Le Nabi Café-Restaurant 7. MCBA partners and sponsors Contact Aline Guberan Florence Dizdari Communication and marketing manager Press coordinator T + 41 79 179 91 03 T + 41 79 232 40 06 [email protected] [email protected] Plateforme 10 Place de la Gare 16 T +41 21 316 34 45 Musée cantonal 1003 Lausanne [email protected] des Beaux-Arts Switzerland mcba.ch MUSÉE CANTONAL DES BEAUX-ARTS LAUSANNE 1. Press release Comrade of Édouard Vuillard and Pierre Bonnard when all three were studying art, Maurice Denis (1870-1943) was a painter and major theoretician of modern French art at the turn of the 20th century. This show – the first dedicated to the artist in Switzerland in 50 years – focuses on the early years of Denis’s career. The novel visual experiments of the “Nabi of the beautiful icons” gave way to the serene splendor of the symbolist works, followed by the bold decision to return to classicism. This event, which features nearly 90 works, is organised with the exceptional support of the Musée d'Orsay and thanks to loans from Europe and the United States. Maurice Denis remains famous for the watchword he devised in 1890, “Remember that a painting – before being a warhorse, a nude woman, or some anecdote or other – is basically a plane surface covered with colors assembled in a certain order.” Beyond this manifesto, the breadth and depth of his pictorial output make clear the ambitions of a life completely devoted to art, love, and spirituality.
    [Show full text]
  • JUNE, 2011 the Church of the Resurrection New York, New York Cover Feature on Pages 26–27
    THE DIAPASON JUNE, 2011 The Church of the Resurrection New York, New York Cover feature on pages 26–27 June 2011 Cover.indd 1 5/13/11 8:34:57 AM June 2011 pp. 2-18.indd 2 5/13/11 8:36:24 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Second Year: No. 6, Whole No. 1219 JUNE, 2011 In the wind . typical tractor tire with a pressure of Established in 1909 ISSN 0012-2378 Please accept my admiration for the 40 psi would be the equivalent of 1,080 An International Monthly Devoted to the Organ, John Bishop’s wonderful column in the inches of wind. That would indeed be the Harpsichord, Carillon, and Church Music April issue. His paean to the Cathedral the “Last Trumpet!” of St. John the Divine struck a mighty David Wigton chord of nostalgia, combined with ad- Dryden, Michigan miration of Bishop’s evocative writing, in CONTENTS Editor & Publisher JEROME BUTERA [email protected] which he expressed thoughts about the John Bishop replies 847/391-1045 building and its organ—which I have al- My thanks to my friend David Wig- FEATURES ways felt deeply. ton for his nice comments, and for Harpsichord Playing in America Associate Editor JOYCE ROBINSON Over a period of six years (four as a catching my error about wind pres- “after” Landowska [email protected] by Larry Palmer 19 choirboy and, overlapping that, four sure. He’s correct, of course, within 847/391-1044 as an organ student of Norman Coke- seven tenths of an inch.
    [Show full text]
  • Memory, Metaphor, and Aby Warburg's Atlas of Images
    Memory, Metaphor, and Aby Warburg’s Atlas of Images Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. Memory, Metaphor, and Aby Warburg’s Atlas of Images Christopher D. Johnson A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2012 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2012 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Johnson, Christopher D., 1964– Memory, metaphor, and Aby Warburg’s Atlas of images / Christopher D. Johnson. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-7742-3 (pbk.
    [Show full text]
  • Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts1
    ACTA KOR ANA VOL. 16, NO. 2, DECEMBER 2013: 329–365 JUVENILE PROTECTION AND SEXUAL OBJECTIFICATION: ANALYSIS OF THE PERFORMANCE FRAME IN KOREAN 1 MUSIC TELEVISION BROADCASTS By CEDARBOUGH T. SAEJI2 The wide-spread sexual objectification of women in Korean popular music performance subconsciously teaches men and boys that women and girls are sexual objects that exist to please them. Simultaneously sexual objectification disempowers girls and women by emphasizing superficial beauty. Although many decisions related to K- pop choreography, costumes, or lyrics may be attributed to music management companies, this article analyzes how music television programs Inkigayo (Seoul Broadcasting System) and Music Core (Munhwa Broadcasting Company) contribute to the sexual objectification of women through the ways that emcees frame performances and the ways the camera draws attention to sexualized body parts. In August 2012 racy performances by the girl group Kara raised public debate and spurred calls for amendments to the Juvenile Protection Law. At that time commentary focused on the impact of sexually provocative performances on young people. The law places responsibility for monitoring content onto the content producers and broadcasters, yet frame analysis of Kara’s performances, compared with performances in early 2013, demonstrated that neither Inkigayo nor Music Core had changed the sexually objectifying performance frame on their shows. The final version of the revised law, 1 This research was supported by Hankuk University of Foreign Studies Research Fund of 2013. 2 Author’s Note: Thank you to the editor and enormously helpful anonymous reviewers at Acta Koreana as well as friends and colleagues with whom I discussed aspects of this paper: my gratitude to Logan Clark, Timothy Gitzen, Meredith Perry, Jungwon Kim, Jisoo Hyun, Thea Suh, Go Gwanyeong, and the audience for my presentation at the 2013 International Association for the Study of Popular Music conference.
    [Show full text]
  • K-Pop Performance
    Sindicato dos Profissionais de Dança do Estado do Rio de Janeiro Apostila de conteúdo e referências Para a Prova Teórica de K - Performance MATERIAL TEÓRICO PARA PROVA DE OBTENÇÃO DE REGISTRO PROFISSIONAL Modalidade: K-Performance A Dança: A dança e uma forma de comunicação e manifestação de celebrações e acontecimentos cotidianos. De lá pra cá novas formas surgiram, nomenclaturas e estilos diversos, mas nunca esquecendo do seu propósito maior, usar a dança como uma manifestação artística e comunicação do artista através dos movimentos passando sentimentos para os seus espectadores. K-performance: Conceito Podemos considerar K-Performance como qualquer performance de coreografia seja em modalidade cover ou autoral, em músicas de K-pop, com o intuito de entreter e a proposta de coreografia de artista, com Lipsync, expressão corporal condizente com a música e domínio de palco. História K-POP : A História do K-POP começa com o Sr. Lee Soo Man, CEO da SM entertainment, que ao voltar de uma viagem aos Estados Unidos, em 1989, vê uma diferença de como os artistas conseguem ser globalmente conhecidos e os artistas coreanos não conseguiam ser lanca̧ dos mundialmente. O primeiro cantor lanca̧ do de sua marca foi Hyun Jin-young, e seria o primeiro cantor de algo que se aproximava do que seria o K-pop, dois anos depois teriá mos um divisor de aǵ uas com SeoTaiji. Primeiro Grupo: Seo Taiji and Boys – considerado um dos pioneiros, e por muitos o primeiro grupo de k-pop, esse grupo Debutou em 1992 e, apesar de ficar em atividade apenas de 1992 a 1996, teve vendas entre 1.6 e 2 milhões de cópias pôr álbum.
    [Show full text]
  • Achievement in the South Korean Music Industry Björn Boman1
    6 International Journal of Music Business Research, October 2019, vol. 8 no. 2 Achievement in the South Korean music industry Björn Boman1 Abstract South Korean Pop music, commonly referred to as K-pop, emerged in the 1990s and reached regional and global recognition in the early 2000s, with a peak in 2018 with the two groups BTS and BLACKPINK. Their relative global success is explained in this article as an interplay of a G-L-G (Global-Local-Global) business model, beauty, ar- tistic and personality skills at the individual level, and idiosyncratic factors, such as particular songwriting capabilities and hit songs. This interplay was designed for market penetration in the US and UK. Keywords: K-pop, Hallyu, South Korea, Korean wave, BTS, BLACKPINK 1 Introduction Many might associate contemporary South Korea with high Programme for International Student Assessment (PISA) results, as well as rapid technological and economic development since the 1980s. Another ele- ment which is linked to modern South Korea is its pop cultural industry, especially K-pop, an umbrella term for South Korean popular music. The appeal of K-pop has been ascribed to physically attractive group mem- bers, globally fashionable pop music, and synchronized dance perfor- mances (Oh 2013). While several K-pop acts such as Big Bang, TVXQ, Girls' Generation, Super Junior, and EXO have reached local (South Ko- rea) and regional (East Asia) success (Lie 2013; Lie 2014; Oh 2013), these acts have failed to penetrate the major music markets of the US and UK. An attempt was made in the US by Girls' Generation with the single and music video "The Boys" in 2011, which was launched in an English ver- sion.
    [Show full text]
  • Juvenile Protection and Sexual Objectification: Analysis of the Performance Frame in Korean Music Television Broadcasts1
    ACTA KOR ANA VOL. 16, NO. 2, DECEMBER 2013: 329–365 JUVENILE PROTECTION AND SEXUAL OBJECTIFICATION: ANALYSIS OF THE PERFORMANCE FRAME IN KOREAN 1 MUSIC TELEVISION BROADCASTS By CEDARBOUGH T. SAEJI2 The wide-spread sexual objectification of women in Korean popular music performance subconsciously teaches men and boys that women and girls are sexual objects that exist to please them. Simultaneously sexual objectification disempowers girls and women by emphasizing superficial beauty. Although many decisions related to K- pop choreography, costumes, or lyrics may be attributed to music management companies, this article analyzes how music television programs Inkigayo (Seoul Broadcasting System) and Music Core (Munhwa Broadcasting Company) contribute to the sexual objectification of women through the ways that emcees frame performances and the ways the camera draws attention to sexualized body parts. In August 2012 racy performances by the girl group Kara raised public debate and spurred calls for amendments to the Juvenile Protection Law. At that time commentary focused on the impact of sexually provocative performances on young people. The law places responsibility for monitoring content onto the content producers and broadcasters, yet frame analysis of Kara’s performances, compared with performances in early 2013, demonstrated that neither Inkigayo nor Music Core had changed the sexually objectifying performance frame on their shows. The final version of the revised law, 1 This research was supported by Hankuk University of Foreign Studies Research Fund of 2013. 2 Author’s Note: Thank you to the editor and enormously helpful anonymous reviewers at Acta Koreana as well as friends and colleagues with whom I discussed aspects of this paper: my gratitude to Logan Clark, Timothy Gitzen, Meredith Perry, Jungwon Kim, Jisoo Hyun, Thea Suh, Go Gwanyeong, and the audience for my presentation at the 2013 International Association for the Study of Popular Music conference.
    [Show full text]
  • Copyright by Chuyun Oh 2015
    Copyright by Chuyun Oh 2015 The Dissertation Committee for Chuyun Oh Certifies that this is the approved version of the following dissertation: K-popscape: Gender Fluidity and Racial Hybridity in Transnational Korean Pop Dance Committee: Rebecca Rossen, Supervisor Omi Osun Joni L. Jones Paul Bonin-Rodriguez Cherise Smith Heather Hindman Youjeong Oh K-popscape: Gender Fluidity and Racial Hybridity in Transnational Korean Pop Dance by Chuyun Oh, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2015 Acknowledgements I would like to extend my thanks to PPP faculty members whose advice and help significantly contributed to my dissertation. I offer the deepest appreciations to my academic advisor, Rebecca Rossen, for supporting my dissertation and academic progress for the last five years with great enthusiasm, insight, and mentorship. I am also thankful to Omi Osun Joni L. Jones and Paul Bonin for their generous help and inspiring scholarship. I want to thank each member of my committee, Cherise Smith, Heather Hindman, and Youjeong Oh, for the time to read and respond to my work with advice. I also offer thanks to my colleagues, friends, and Theatre and Dance faculty members whose artistic and scholarly endeavors have significantly inspired my work. Lastly, I express my sincere gratitude and love to my family members and loved one. Without their help, care, love, and patience, everthing I have achieved would not have been possible.
    [Show full text]