The Future of Advertising Isn't Writing Better Slogans
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Old Town Road (I Got the Horses in the Back)
Old Town Road (I Got the Horses in the Back) by TRENT REZNOR, ATTICUS ROSS, MONTERO LAMAR HILL and KIOWA ROUKEMA Lyrics by: MONTERO LAMAR HILL, TRENT REZNOR, ATTICUS ROSS and KIOWA ROUKEMA Published Under License From Universal Music Publishing Group © 2018 Form and Texture Inc, Songs in the Key of Mink, Downtown DMP Songs, Downtown Music Publishing LLC, Songs of Universal and Sony/ATV Music Publishing Kobalt Songs Music Publishing, Universal Music Publishing Group and Sony/ATV Music Publishing LLC Contains "34 Ghosts IV" - Music and Lyrics by Trent Reznor and Atticus Ross All Rights Reserved Authorized for use by Irene NOTICE: Purchasers of this musical file are entitled to use it for their personal enjoyment and musical fulfillment. However, any duplication, adaptation, arranging and/or transmission of this copyrighted music requires the written consent of the copyright owner(s) and of Universal Music Publishing Group. Unauthorized uses are infringements of the copyright laws of the United States and other countries and may subject the user to civil and/or criminal penalties. musicnotes.com Old Town Road (I Got The Horses In The Back) Words and Music by MONTERO HILL, KIOWA ROUKEMA, TRENT REZNOR and ATTICUS ROSS 1. Hm Nah-ma dah,dah 2. Yeah, I’mgon-na take my horse to the oldtown road, I’mgon-na ride ’til I can’t no more.I’m gon-na take my horse to the oldtown road, I’mgon-na ride ’til I can’t no more I got the © 2018 Form and Texture Inc, Songs in the Key of Mink, Downtown DMP Songs, Downtown Music Publishing LLC, Songs of Universal -
The Fearless Leader Fearless the Paul 196
TWO RAINMAKERS PAUL THE FEARLESS LEADER 196 ven back then, I was taking on far too many jobs,” Def Jam Chairman Paul Rosenberg recalls of his early career. As the longtime man- Eager of Eminem, Rosenberg has been a substantial player in the unfolding of the ‘‘ modern era and the dominance of hip-hop in the last two decades. His work in that capacity naturally positioned him to seize the reins at the major label that brought rap to the mainstream. Before he began managing the best- selling rapper of all time, Rosenberg was an attorney, hustling in Detroit and New York but always intimately connected with the Detroit rap scene. Later on, he was a boutique-label owner, film producer and, finally, major-label boss. The success he’s had thus far required savvy and finesse, no question. But it’s been Rosenberg’s fearlessness and commitment to breaking barriers that have secured him this high perch. (And given his imposing height, Rosenberg’s perch is higher than average.) “PAUL HAS Legendary exec and Interscope co-found- er Jimmy Iovine summed up Rosenberg’s INCREDIBLE unique qualifications while simultaneously INSTINCTS assessing the State of the Biz: “Bringing AND A REAL Paul in as an entrepreneur is a good idea, COMMITMENT and they should bring in more—because TO ARTISTRY. in order to get the record business really HE’S SEEN healthy, it’s going to take risks and it’s going to take thinking outside of the box,” he FIRSTHAND told us. “At its height, the business was run THE UNBELIEV- primarily by entrepreneurs who either sold ABLE RESULTS their businesses or stayed—Ahmet Ertegun, THAT COME David Geffen, Jerry Moss and Herb Alpert FROM ALLOW- were all entrepreneurs.” ING ARTISTS He grew up in the Detroit suburb of Farmington Hills, surrounded on all sides TO BE THEM- by music and the arts. -
The Catchiest Disease “Hesitation Marks” Embodies a Ruined Man Many a Personal Downfall in This Album by Max Robison Contributing Writer Especially
Tuesday, Features Sept. 10, 2013 11 “Get to Know a Retriever” Meet Arash Fallah, a student driven to succeed at UMBC have been mentoring me club wrestling team but I would really like to see I really look up to their the team be elevated to a andhumility, I’ve learned grace, aclass lot from. and formal collegiate level. Beverage choice that’s wisdom.is extremely Farrah intelligent,Daham is indicative of your onetrustworthy, of my role models.nuanced She personality? characteristics I admire in anda person. beautiful. Those are Pepsi,Keep Calmit’s sweet and and_________? dark. What is your favorite COURTESY ARASH FALLAH part about UMBC? RelaxHow has UMBC helped Arash Fallah rides a carousel at Whatever you want to you achieve success? Pentagon mall. With little exception, there importance of failure BY DAVID POZNANSKY doare atfew UMBC, obstacles you keepingcan do. It’s taught me the Contributing Writer you from pursuing your understanding that few passions. andadvantages success. comeAs well from as Name, Major, Year? taking a position of conceit. Sports team you’d be most excited to see play a measured impact by Arash Fallah, History and live? I’veapplying learned the lessonshow to of make tact. PoliticalFrom? Science, 2015 Potomac, Maryland challenge myself by taking LosWhat Angeles sport Lakers or activity It’s also encouraged me to Do you have any should UMBC compete in than merely coasting role models? What on a collegiate level? difficultthrough college.courses rather characteristics of theirs do you admire? have such an outstanding [email protected] I think it’s great that we There are two people who The catchiest disease “Hesitation Marks” embodies a ruined man many a personal downfall in this album BY MAX ROBISON Contributing Writer especially. -
Battletech of Art & Fiction
CONTENTS TM BATTLETECH 25 YEARS OF ART & FICTION FORWARD .......................................................4 INTRODUCTION .................................................6 TIMELINE .......................................................16 OZYMANDIAS .................................................32 STARFIRE .......................................................46 THUS IT SHALL STAND ....................................62 A LITTLE PIECE OF WAR ..................................74 REMAINING UNPERCEIVED ..............................86 MARSH OWL ..................................................96 TACTICS OF BETRAYAL ..................................108 THE WALKING DEAD .....................................120 HORNET’S NEST ...........................................132 VECTOR .......................................................144 FACE IN THE VIEWPORT ................................156 MEANS TO AN END ......................................166 CHERRY BLOSSOMS .....................................176 FIRST CHAIR ................................................190 THE COLOR OF RAGE .....................................202 THREE SIDES TO EVERY STORY ......................216 TEACH THE WICKED .....................................220 WELL MET IN THE FUTURE ............................228 THE DARK AGE .............................................238 END TRANSMISSION .....................................244 COMPUTER BIBLIOGRAPHY ............................256 BIBLIOGRAPHY .............................................280 ARTIST: STEVE -
Mechcommander: Gold Manual
SUPPLEMENTAL A BRIEFING ****CLASSIFIED COMMUNIQUE**** Commander, as I stated in the vidcom, I am canceling your orders to return home. I know this is very tough on morale—you and your men deserve some R&R after your distinguished service in the attacks on the Clan Homeworlds. But I know that you understand the need to finish the job: to eliminate this threat to the Inner Sphere once and for all. On a positive note, Battalion has sent some new ’Mechs and weapons your way that should help bolster spirits some. • Three new Inner Sphere ’Mechs and the specifications for three new Clan ’Mechs. • Six new vehicles. • Five new weapons. • The waypoint feature. • The ammo conservation fire command. • Difficulty level settings. • Fire support mission hotkeys (for large and small artillery, sensor probes, and camera drones). In addition, Commander, keep your troops at combat readiness with Mission Editor. Create new solo or multiplayer missions on either Port Arthur or the latest battlefield, Cermak. Mission Editor includes: • Terrain, overlay, and building palettes for maximum geographic and structural flexibility. • Toolbars that allow you to manipulate your map in a variety of ways. • Unit and vehicle palettes through which you can detail variants, orders, speed, and colors, to name a few. • Objectives tools through which you can mastermind a scenario and play it out. Good Luck and Good Hunting, Colonel Reese ©1999 Microsoft Corp. Developed by Microsoft Corporation. Published by Hasbro Interactive, Inc. BattleTech, MechCommander, MechWarrior, BattleMech and 'Mech are trademarks or registered trademarks of FASA Corporation and Microsoft Corporation. Microsoft, MS, Windows, and the Windows logo are either registered trademarks or trademarks of Microsoft Corporation in the US and/or other countries. -
Beats (Review)
Cleveland State University EngagedScholarship@CSU Michael Schwartz Library Publications Michael Schwartz Library 7-2014 Beats (Review) Mandi Goodsett Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/msl_facpub Part of the Library and Information Science Commons, and the Music Commons How does access to this work benefit ou?y Let us know! Publisher's Statement This is an Author’s Accepted Manuscript of an article published in Music Reference Services Quarterly July/Sept 2014, available online: http://www.tandfonline.com/10.1080/ 10588167.2014.932147. Repository Citation Goodsett, Mandi, "Beats (Review)" (2014). Michael Schwartz Library Publications. 106. https://engagedscholarship.csuohio.edu/msl_facpub/106 This E-Resource Review is brought to you for free and open access by the Michael Schwartz Library at EngagedScholarship@CSU. It has been accepted for inclusion in Michael Schwartz Library Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. E-Resources Reviews BEATS MUSIC, http://www.beatsmusic.com For the past decade, the music industry has been attempting to provide lis- teners with legal, convenient ways to access music, competing with sites like Napster and its successors. In an attempt to pull consumers out of the illegal music free-for-all and into a fee-based streaming service, the music industry has fueled a sudden explosion of new mobile and desktop music streaming applications to satisfy the needs of digital-music consumers affordably and conveniently. Moving from streaming radio services like Pandora, the new on-demand music streaming services like Spotify, Rdio, Google Play All Access, and Rhapsody offer listeners a higher level of control and greater ability to curate a listening experience than ever before. -
Trent Reznor, La Única Persona Detrás De Nine Inch Nails, Es Uno De Mis Artistas Favoritos
musica universalis [NIN] Trent Reznor, la única persona detrás de Nine Inch Nails, es uno de mis artistas favoritos. Quizá no os suene su nombre, pero seguro que habéis escuchado su música muchas veces... n 2011 recibió, junto Sin embargo, «Sunspots», With con Atticus Ross, el Os- Teeth (2005), comienza con man- car a la mejor banda chas solares iluminando sus ojos Esonora por The Social (Sunspots cast a glare in my eyes). Network (2010); produjo el primer En «1,000,000», The Slip (2008), álbum de Marilyn Manson y par- se siente a un millón de millas de tes del segundo y tercero, Anti- distancia, que son unos 250 ra- christ Superstar (1996); algunos dios terrestres o 0,01 unidades temas de su álbum The Fragile astronómicas. Ya se había senti- (1999) se han usado para infini- do a esa distancia en «Hurt», The dad de anuncios y programas de Downward Spiral (1994), por cier- televisión, tráilers de cine y hasta to, inmejorablemente versionea- para torturar a presos en Guan- da por Johnny Cash justo antes «Hera, NASA, manzana y uñas de tánamo; ha colaborado con Mi- de morir. Por «Satellite», Hesi- nueve pulgadas». Portada del sencillo Juno (2016) de Trent Reznor y Atticus nistry, Black Sabbath, David tation Marks (2013), parece que Ross. Juno es en realidad la misión del Bowie (es su perseguidor en el Reznor toma imágenes largas Jet Propulsion Laboratory en órbita videoclip de «I’m Afraid of Ame- que le estropean la exposición: polar alrededor de Júpiter para de- terminar si el planeta tiene un núcleo ricans»), A Perfect Circle, Jane’s Data trails, like fingernails / Scratch sólido. -
“Praying Angrily”
“Praying Angrily” Psalm 69 Erica Cooper Assistant Minister August 4, 2019 The Ninth Sunday of Pentecost In 1993 I attended my very first rock concert. Or concerts, I should say. In the early 90’s Lollapalooza was a budding 4-day outdoor music festival touring the U.S. with top billing bands like Sonic Youth, the Breeders and Green Day. I was thirteen years old, still in middle school, and really had no business being there, but I had some older high school friends who invited me to go, with their mom chaperoning in the background of course. It was hot and humid that day, as is always the case in Atlanta in July. I had been chugging water all afternoon to stay hydrated, and soon needed to use the bathroom. Between bands, I took my friend Nori with me as we headed out on a thirty-minute journey across the field, weaving a bobbing through 20,000 sweaty, sunburned Gen-Xers. We made it to the bathroom finally, and were delighted that the next band had not yet gone on stage, we didn’t miss out on anything. So we headed back across the field to our area where the rest of our friends were. But, somewhere in the middle of our journey, Nori and I lost one another. I looked around but couldn’t find her, and at this same time, another band started to play, so I stopped where I was to listen. This band was unfamiliar to me, a band called Rage Against the Machine. At first I didn’t notice the group of 20- something shirtless men gathering around me. -
Designing Reusable Alternate Reality Games
Designing Reusable Alternate Reality Games Derek Hansen1, Elizabeth Bonsignore2, Marc Ruppel4, Amanda Visconti3, Kari Kraus2,3 1School of Technology 2Human-Computer Interaction Lab, 4National Endowment Brigham Young University 3Dept of English for the Humanities Provo, UT, USA University of Maryland, College Park, MD Washington, DC, USA [email protected] {ebonsign,kkraus,visconti}@umd.edu [email protected] ABSTRACT reality and location-aware devices, begin to proliferate, the Successful Alternate Reality Games (ARGs), such as The future of ARGs looks promising. Lost Experience, I Love Bees and Urgent EVOKE have solicited thousands of active participants and, often, Most ARGs are designed as one-time experiences. While millions of spectators from around the world. ARGs require this lends an authenticity and novelty to the hunting and significant resources not only in terms of initial design, but problem-solving elements of an ARG, it limits the number also in implementation, since live, dynamic interplay of potential players and reduces the return on investment of between players and designers is an inherent aspect of their time and resources. This is particularly true of educational interactive storylines. This paper outlines a novel design ARGs, which could ideally be tailored by educators to meet framework for creating reusable ARGs, that will help the unique needs of their students and classroom setting extend the lifespan of ARGs and allow them to permeate (e.g., length of class). If ARGs are to reach their potential, new domains such as education. The framework includes novel design approaches must be developed that support the three key reusable design objectives (replayability, unique properties of ARGs, while also recognizing the need adaptability, extensibility), each of which can be enacted at to make their content reusable. -
Designing an Educational Alternate Reality Game
Running Head: EDUCATIONAL ALTERNATE REALITY GAME Designing An Educational Alternate Reality Game Randall Fujimoto Shoyu Learning Solutions Abstract An educational alternate reality game (ARG) is a social learning experience that takes place in both the real and online worlds using various puzzles and activities tied together though an emerging storyline. This project described the design, development, and prototype testing of Finding Identity, an educational, social studies ARG about the history of the Japanese Americans during World War II. The three research topics that this research project addressed were (a) the definition of an educational ARG, (b) the pedagogical benefits of an educational ARG, and (c) the features that could be included in an educational ARG instructional design model. Evaluation of the Finding Identity ARG found that ARGs have pedagogical benefits that can foster significant learning of new topics. However, because ARGs are a relatively new phenomenon, additional research is needed to fully ascertain their instructional potential. ii Table of Contents Abstract............................................................................................................................... ii CHAPTER ONE: INTRODUCTION................................................................................. 1 Statement of Purpose ...................................................................................................... 3 Rationale ........................................................................................................................ -
Theorising the Practice of Expressing a Fictional World Across Distinct Media and Environments
Transmedia Practice: Theorising the Practice of Expressing a Fictional World across Distinct Media and Environments by Christy Dena A thesis submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy (PhD) School of Letters, Art and Media Department of Media and Communications Digital Cultures Program University of Sydney Australia Supervisor: Professor Gerard Goggin Associate Supervisor: Dr. Chris Chesher Associate Supervisor: Dr. Anne Dunn 2009 Let’s study, with objectivity and curiosity, the mutation phenomenon of forms and values in the current world. Let’s be conscious of the fact that although tomorrow’s world does not have any chance to become more fair than any other, it owns a chance that is linked to the destiny of the current art [...] that of embodying, in their works some forms of new beauty, which will be able to arise only from the meet of all the techniques. (Francastel 1956, 274) Translation by Regina Célia Pinto, emailed to the empyre mailing list, Jan 2, 2004. Reprinted with permission. To the memory of my dear, dear, mum, Hilary. Thank you, for never denying yourself the right to Be. ~ Transmedia Practice ~ Abstract In the past few years there have been a number of theories emerge in media, film, television, narrative and game studies that detail the rise of what has been variously described as transmedia, cross-media and distributed phenomena. Fundamentally, the phenomenon involves the employment of multiple media platforms for expressing a fictional world. To date, theorists have focused on this phenomenon in mass entertainment, independent arts or gaming; and so, consequently the global, transartistic and transhistorical nature of the phenomenon has remained somewhat unrecognised. -
Contemporary Film Music
Edited by LINDSAY COLEMAN & JOAKIM TILLMAN CONTEMPORARY FILM MUSIC INVESTIGATING CINEMA NARRATIVES AND COMPOSITION Contemporary Film Music Lindsay Coleman • Joakim Tillman Editors Contemporary Film Music Investigating Cinema Narratives and Composition Editors Lindsay Coleman Joakim Tillman Melbourne, Australia Stockholm, Sweden ISBN 978-1-137-57374-2 ISBN 978-1-137-57375-9 (eBook) DOI 10.1057/978-1-137-57375-9 Library of Congress Control Number: 2017931555 © The Editor(s) (if applicable) and The Author(s) 2017 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.