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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak 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 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
ISSUE 2 Holy Family Writes
Issue 2 Term 3 August 2020 “Crafty Writers” Your writing is only limited to your imagination! Follow the year levels to see the amazing efforts our This issue, we are showcasing students are making to craft student work that shows a their words so cleverly. variety of author crafting techniques, such as use of of italics, alliteration, similes, Index: onomatopoeia, interrobang, ellipsis and many more! Reception/Year 1 Year 2 Authors in the Year 3 making… Year 4 We hope that in publishing this Year 5/6 digital magazine our young writers feel a sense of great ownership and achievement. Reception/ Year 1 Book making fun in R/1MR Reception/ Year 1 Book making fun in R/1MR Reception/ Year 1 By Athian R/1MP Reception/ Year 1 By Aisha R/1JH Reception/ Year 1 By Ambrose R/1MP Reception/ Year 1 By Dylan R/1MP Reception/ Year 1 By Lina R/1MP Reception/ Year 1 By Ariana R/1JH Reception/ Year 1 By Vincent R/1JH Reception/ Year 1 By Yasha R/1JH Reception/ Year 1 By Isla R/1MP Reception/ Year 1 Reception/ Year 1 Reception/ Year 1 By Kevin R/1MP Reception/ Year 1 Reception/ Year 1 Reception/ Year 1 By Sehana R/1MP Reception/ Year 1 Reception/ Year 1 Reception/ Year 1 Reception/ Year 1 By Victoria R/1MP Reception/ Year 1 Reception/ Year 1 By Hartley R/1MP Reception/ Year 1 Reception/ Year 1 Reception/ Year 1 By Abel R/1MP Year 2 By Cooper 2FA Year 2 By Cooper 2FA Year 2 By Sara 2FA Year 2 By Sara 2FA Year 2 By Sara 2FA Year 2 Year 2 By Dung 2RG Year 2 Year 2 Year 2 Year 2 Year 2 Year 2 By Beau 2RG Year 3 Circus Story Year 3 By Thuy 3JW Year 3 Year 3 Year 3 Year 3 By Vi 3JW Year 3 Dr Seuss is 87 years old. -
First-Run Smoking Presentations in U.S. Movies 1999-2006
First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform. -
DRAMATURGY GUIDE School of Rock: the Musical the National Theatre January 16-27, 2019
DRAMATURGY GUIDE School of Rock: The Musical The National Theatre January 16-27, 2019 Music by Andrew Lloyd Webber Book by Julian Fellowes Lyrics by Glenn Slater Based on the Paramount Film Written by Mike White Featuring 14 new songs from Andrew Lloyd Webber and all the original songs from the movie Packet prepared by Dramaturg Linda Lombardi Sources: School of Rock: The Musical, The Washington Post ABOUT THE SHOW Based on the hit film, this hilarious new musical follows Dewey Finn, a failed, wannabe rock star who poses as a substitute teacher at a prestigious prep school to earn a few extra bucks. To live out his dream of winning the Battle of the Bands, he turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. While teaching the students what it means to truly rock, something happens Dewey didn’t expect... they teach him what it means to care about something other than yourself. For almost 200 years, The National Theatre has occupied a prominent position on Pennsylvania Avenue – “America’s Main Street” – and played a central role in the cultural and civic life of Washington, DC. Located a stone’s throw from the White House and having the Pennsylvania Avenue National Historic Site as it’s “front yard,” The National Theatre is a historic, cultural presence in our Nation’s Capital and the oldest continuously operating enterprise on Pennsylvania Avenue. The non-profit National Theatre Corporation oversees the historic theatre and serves the DC community through three free outreach programs, Saturday Morning at The National, Community Stage Connections, and the High School Ticket Program. -
School of Rock
School of Rock School of Rock La musica oggi è così intrisa di elementi commerciali che scegliere un brano è come scegliere i cereali dagli scaffali del supermercato: sei convinto di prendere quelli che più ti piacciono ma in realtà stai obbedendo alle subdole leggi della propaganda commerciale! Mi capita spesso di vedere fanciulli (alcuni in età da asilo nido! N.d.a), strappare di mano lo smartphone alla mamma e chiedere prepotentemente di cliccare su Youtube “Andiamo a comandare” ed ancora infanti non passati al cibo completamente solido ballare al ritmo di “Vorrei ma non posto” scimmiottando improbabili mosse di danza. Partendo dal presupposto che untormentone estivo non è altro che un tormentone estivo, la domanda è: cosa fanno quelle mamme? Quei papà? Come si fa a non desiderare con passione un’educazione all’arte musicale per i propri figli? Sapete qual è il problema? Che oggi sono finiti i brividi lungo la schiena, oggi vi è un’assolutaatarassia musicale, piccoli e grandi che vivono in uno stato di lobotomia permanente. E se il Rock potesse aiutarci? Ebbene sì cari genitori, credo che il Rock faccia al caso nostro! Senza falsa modestia credo di essere riuscito nel tempo ad educare mia figlia e a guidarla nel vasto panorama musicale nazionale ed internazionale cercando di farle scoprire il bello della Classica, del Pop, del Jazz ma soprattutto del Rock! Azioni meticolose (e a volte subdole) di carattere educativo e preventivo che hanno portato i loro frutti! Sin dai tre anni infatti ci siamo divertiti a concepire testi e melodie che cantavamo assieme e che scemavano quasi sempre in un tremendo mix tra rock demenziale alla “Elio e le Storie Tese” e “Baby Dance” da Villaggio della Valtur, il tutto finiva in una fragorosa risata. -
The Little SAS® Book a Primer THIRD EDITION
The Little SAS® Book a primer THIRD EDITION Lora D. Delwiche and Susan J. Slaughter The correct bibliographic citation for this manual is as follows: Delwiche, Lora D. and Slaughter, Susan J., 2003. The Little SAS Book: A Primer, Third Edition. Cary, NC: SAS Institute Inc. The Little SAS Book: A Primer, Third Edition Copyright © 2003, SAS Institute Inc., Cary, NC, USA ISBN 1-59047-333-7 All rights reserved. Produced in the United States of America. 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, or otherwise, without the prior written permission of the publisher, SAS Institute Inc. U.S. Government Restricted Rights Notice: Use, duplication, or disclosure of this software and related documentation by the U.S. government is subject to the Agreement with SAS Institute and the restrictions set forth in FAR 52.227-19, Commercial Computer Software-Restricted Rights (June 1987). SAS Institute Inc., SAS Campus Drive, Cary, North Carolina 27513. 1st printing, November 2003 SAS Publishing provides a complete selection of books and electronic products to help customers use SAS software to its fullest potential. For more information about our e-books, e-learning products, CDs, and hard- copy books, visit the SAS Publishing Web site at support.sas.com/pubs or call 1-800-727-3228. SAS® and all other SAS Institute Inc. product or service names are registered trademarks or trademarks of SAS Institute Inc. in the USA and other countries. ® indicates USA registration. Other brand and product names are trademarks of their respective companies. -
Some Advice for Phone-Addicted Youth Who Want To
The Roots Report: Look What’s Going Down: Artists have a duty to voice their opinions Okee dokee folks… “It’s s time we stop, hey, what’s that sound, everybody look what’s going down.” This is from one of the most famous protest songs ever written, “For What It’s Worth,” by Stephen Stills (Buffalo Springfield). It was written more than 50 years ago in response to the Sunset Strip curfew riots in California and is still revered as one of the best songs of that generation. A few years later, Neil Young wrote his song “Ohio” about the Kent State shootings. Crosby, Stills, Nash and Young quickly recorded this song, and when it was released as a single, it was backed with another Stephen Stills protest anthem “Find The Cost Freedom.” At the time, “Ohio” was banned by some radio stations, but today it is one of the few actual protest songs still being played on radio. These songs, the bands and the writers were major inspirations and influences for me as a musician and songwriter. Not only do I perform “Ohio” with my band Forever Young and “For What It’s Worth” when I play solo, but I have written many sociopolitical songs of my own that are part of my body of solo work. I feel protest songs need to be written, but they are the hardest type of song to get right. They need to express the concern and anger of the subject matter and marry it perfectly with a melody to make the song viable. -
PAST Both Influenced by 90'S Mainstays As Sunny Day Real
PAST Both influenced by 90's mainstays as Sunny Day Real Estate, Quicksand and At The Drive In as Deftones, Radiohead, Muse and the Foo Fighters; Face Tomorrow have been mastering their skills for over a decade to come to a sound all their own. Their first three albums and most notably their last album In The Dark, released by Excelsior Recordings/V2 in 2008, allowed them to play over 500 shows and brought them through Germany, the UK, Belgium, Denmark, France, Austria, Switzerland, Italy, the Czech republic, the USA and big festivals like Lowlands, Pukkelpop, Paaspop, Groezrock, got them airplay on a.o. Kerrang TV, MTV 2, Jim TV, TMF Belgium. Gaining both a European audience as growing as musicians with every album. In bet- FACE TOMORROW ween all this the band recorded a brand new album in the famous Split Se- “s/t” cond Sound Studios in Amsterdam with producer Jochem Jacobs (mostly known form his band Textures). Jochem succeeded in finally catching the live Release-Date: 25.03.2011 REDFIELD 049 power and energy of the band on CD. Darius van Helfteren was responsible Barcode CD: 4260080810678 for the mastering. Barcode Vinyl: 4260080810685 LC 12650 PRESENT Tracklist: The new CD Face Tomorrow sounds very positive and hopeful compared to 1. All the Way the melancholic appropriately titled In the Dark. During the writing process of 2. The Fix the latter, both Jelle and Aart lost their father, which of course had a great im- 3. Delirium pact on their life and the lyrics of the band. The new album shows a band 4. -
It's Not a Fashion Statement
Gielis /1 MASTER THESIS NORTH AMERICAN STUDIES IT’S NOT A FASHION STATEMENT. AN EXPLORATION OF MASCULINITY AND FEMININITY IN CONTEMPORARY EMO MUSIC. Name of student: Claudia Gielis MA Thesis Advisor: Dr. M. Roza MA Thesis 2nd reader: Prof. Dr. F. Mehring Gielis /2 ENGELSE TAAL EN CULTUUR Teacher who will receive this document: Dr. M. Roza and Prof. Dr. F. Mehring Title of document: It’s Not a Fashion Statement. An exploration of Masculinity and Femininity in Contemporary Emo Music. Name of course: MA Thesis North American Studies Date of submission: 15 August 2018 The work submitted here is the sole responsibility of the undersigned, who has neither committed plagiarism nor colluded in its production. Signed Name of student: Claudia Gielis Gielis /3 Abstract Masculinity and femininity can be performed in many ways. The emo genre explores a variety of ways in which gender can be performed. Theories on gender, masculinity and femininity will be used to analyze both the lyrics and the music videos of these two bands, indicating how they perform gender lyrically and visually. Likewise a short introduction on emo music will be given, to gain a better understanding of the genre and the subculture. It will become clear that the emo subculture allows for men and women to explore their own identity. This is reflected in the music associated to the emo genre as well as their visual representation in their music videos. This essay will explore how both a male fronted band, My Chemical Romance, and a female fronted band, Paramore, perform gender. All studio albums and official music videos will be used to investigate how they have performed gender throughout their career. -
Corus Entertainment Beats the Back-To-School Blues with an Unbeatable Fall Lineup on Ytv, Teletoon, and Treehouse
CORUS ENTERTAINMENT BEATS THE BACK-TO-SCHOOL BLUES WITH AN UNBEATABLE FALL LINEUP ON YTV, TELETOON, AND TREEHOUSE From Nelvana Studios, New Original Series Mysticons and Hotel Transylvania: The Series Make their Canadian Broadcast Debuts on YTV and TELETOON Treehouse Boogies into Fall with the Return of The Wiggles in the Brand- New Series Wiggle Wiggle Wiggle, and Lachy!, as well as More Exclusive Content than Ever Before New Episodes of Smash Hit Series Include The Loud House (YTV), Ben 10 (TELETOON), Peppa Pig (Treehouse), and More For additional photography visit Corus’ Media Centre To share this release socially use: http://bit.ly/2wJnRMX For Immediate Release TORONTO, August 30, 2017 – New worlds, mystical monsters, and unlikely heroes take over Corus Entertainment’s unbeatable kids’ networks this fall with hot new series and fresh seasons of hit animated and live-action shows premiering on YTV, TELETOON, and Treehouse. Kicking off the fall premieres on YTV, the #1 kids network for Kids 6-11*, is the new, animated, original series, Mysticons. The 40-episode, half-hour, fantasy-action series from Nelvana and Nickelodeon follows four regular girls, Arkayna, Zarya, Em, and Piper, who are called into action to double as legendary heroes known as Mysticons. Beginning this week, viewers will get a sneak peek of the series weeknights at 5:30 p.m. ET/PT until Mysticons’ official premiere on Sunday, September 3 at 11 a.m. ET/PT. Click here for the series’ trailer. YTV celebrates the end of summer with everyone’s favourite little brother, Lincoln Loud, in the Big Loud Labour Day stunt on Monday, September 4 starting at 6 a.m. -
Song & Music in the Movement
Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing. -
DJ – Titres Incontournables
DJ – Titres incontournables Ce listing de titres constamment réactualisé , il vous ait destiné afin de surligner avec un code couleur ce que vous préférez afin de vous garantir une personnalisation totale de votre soirée . Si vous le souhaitez , il vaut mieux nous appeler pour vous envoyer sur votre mail la version la plus récente . Vous pouvez aussi rajouter des choses qui n’apparaissent pas et nous nous chargeons de trouver cela pour vous . Des que cette inventaire est achevé par vos soins , nous renvoyer par mail ce fichier adapté à vos souhaits 2018 bruno mars – finesse dj-snake-magenta-riddim-audio ed-sheeran-perfect-official-music-video liam-payne-rita-ora-for-you-fifty-shades-freed luis-fonsi-demi-lovato-echame-la-culpa ofenbach-vs-nick-waterhouse-katchi-official-video vitaa-un-peu-de-reve-en-duo-avec-claudio-capeo-clip-officiel 2017 amir-on-dirait april-ivy-be-ok arigato-massai-dont-let-go-feat-tessa-b- basic-tape-so-good-feat-danny-shah bastille-good-grief bastille-things-we-lost-in-the-fire bigflo-oli-demain-nouveau-son-alors-alors bormin-feat-chelsea-perkins-night-and-day burak-yeter-tuesday-ft-danelle-sandoval calum-scott-dancing-on-my-own-1-mic-1-take celine-dion-encore-un-soir charlie-puth-attention charlie-puth-we-dont-talk-anymore-feat-selena-gomez clean-bandit-rockabye-ft-sean-paul-anne-marie dj-khaled-im-the-one-ft-justin-bieber-quavo-chance-the-rapper-lil-wayne dj-snake-let-me-love-you-ft-justin-bieber enrique-iglesias-subeme-la-radio-remix-remixlyric-video-ft-cnco feder-feat-alex-aiono-lordly give-you-up-feat-klp-crayon