DOCSLIB.ORG

[Tiffany] When the Snow Begins to Fly, Above the Smoky, Smoky Sky, You

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
[Tiffany] When the Snow Begins to Fly, Above the Smoky, Smoky Sky, You [Tiffany] When the snow begins to fly, above the smoky, smoky sky, you came Along like a snowflake, and brightened up my day [Taeyeon] There is just one thing I need on this snowy winter day Call me a fool to love you, but I want nothing but you [Sooyoung] Oh, I have to hear your voice, the one that brings me joy [Seohyun] And your warmth slowly wraps around my heart... boy, can't you see? [ALL] The lights are shining on me, and it's like a diamond I'm spinning around, rocking around like a diamond [Yuri] That's because I'm filled with emotions [ Lyrics from: http://www.lyricsmode.com/lyrics/s/snsd/diamond.html ] [Jessica] Everybody's waiting for the holidays Candies and toys of silver trays And there is one thing special... Boy, you are my present [Sunny] There is just one thing I need on this snowy winter day Call me a fool to love you, but I want nothing but you [Yoona] Oh, I have to hear your voice, the one that brings me joy [Yuri] And your warmth slowly wraps around my heart... Boy, can't you see? [ALL] The lights are shining on me, and it's like a diamond I'm spinning around, rocking around like a diamond [Hyoyeon] That's because I'm filled with emotions [Sunny] That's because I'm filled with emotions [Seohyun] You're shining, you're gleaming Oh, you melt me like white snow, oh [Tiffany] You're shining, you're gleaming [Taeyeon] And your warmth slowly wraps around my heart Boy, can't you see [ALL] The lights are shining on me, and it's like a diamond I'm spinning around, rocking around like diamonds [Jessica] To your heart [ALL/Seohyun]The lights are shining on me, and it's like a diamond I'm spinning around, rocking around like a diamond [Jessica] That's because I'm filled with emotions [Tiffany] That's because I'm filled with emotions More lyrics: http://www.lyricsmode.com/lyrics/s/snsd/#share [All] Keobi naseo shijakjocha anhae bwattdamyeon Geudaen tudeoldaeji mara jom! [Jessica] GG! [All] Jujeohamyeon gihweneun modu neoreul bikyeoga Gaseum pyeogo nawabwara jom! [Jessica] T.R.X.! [All] Bring the boys out [Tiffany] Yeah~ You know? [All] B-Bring the boys out [Tiffany] We bring the boys out We bring the boys out Yeah~ [All] B-Bring the boys out [Taeyeon] Sunrie matchwo saneun geot Neon gildeulyeojyeo beoryeonni? Kwaenchanni? [Tiffany] Get up [Yoona] Amdamhan sesangi geudael junukdeul mandeuni? [Tiffany] That's funny [Yoona] Kwaenchanni~? [Sunny] Keunyang pol suga eobseo nan Budichigo kkaejyeodo myeot peonigo ireona [Seohyun] Nalkarobge, myeotjige ireul naegoya maldeun Ne yahseongeul poyeojwo My boy~ [All] B-Bring the boys out [All] Girls' generation make you feel the heat! [Yuri] Jeon segega neoreul jumoghae [All] B-Bring the boys out [Sooyoung] Wipungdo dangdanghaji ppyeossokbuteo neon Wonllae myeotjyeosseo You know the girls [All] B-Bring the boys out [Jessica] Heundeulliji malgo geudaen jaril jikyeo Wonllae jeonjaeng gateun salmeul saneun inganingeol Neoneun wae? [Sunny] Yeah fly high! [Jessica] Beolsseo wae? [Sunny] You fly high! [Jessica] Pogihae? Oh, neon meoreotjanha [ Lyrics from: http://www.lyricsmode.com/lyrics/s/snsd/the_boys.html ] [Seohyun] Neoye jimnyeomeul boyeojwo jigureul jom heundeureo jwo Moduga neol pol su itge [Taeyeon] Yeoksaneun saerobge sseuyeojige dwel geol Juingongeun baro neo! Baro neo~! [All/Taeyeon] B-Bring the boys out [All] Girls' generation make you feel the heat! [Tiffany] Jeon segega neoreul jumoghae [All] B-Bring the boys out [Hyoyeon] Wipungdo dangdanghaji ppyeossokbuteo neon Wonllae myeotjyeosseo You know the girls [All] B-Bring the boys out [All] Girls bring the boys out! [Yuri] I wanna dance right now Naega ikkeureo julke come out [Yoona] Sesangi namjadeuriyeo nan Number 1 jihyereul juneun Athena Check this out! [Hyoyeon] Jeulgyeobwara, dojeone seolleim Imi modu gajin sesange namja [Sooyoung] Geudaero jjuk ganeun geoya keep up! Girls' generation, we don't stop! [All] B-Bring the boys out [Jessica] Makhyeobeoryeottdeon miraega anboyeottdeon miraega Ne nunape pyeolchyeojyeo [Taeyeon] Jeomjeom deo wahnbyeokhan, ne moseube machi Nan ppallyeodeul geot gata~my heart~ [All] Keobi naseo shijakjocha anhae bwattdamyeon Geudaen tudeoldaeji mara jom! [All/Taeyeon] Just bring the boys out [All/Seohyun] Jujeohamyeon gihweneun modu neoreul bikyeoga Gaseum pyeogo nawabwara jom! [All] Bring the boys out [Jessica] Cause the girls [All/Jessica] Bring the boys out [Jessica] Girls [All/Jessica] Bring the boys out [Jessica] Girls [All/Jessica] Bring the boys out [Jessica] Girls [All/Jessica] Bring the boys out [All] Girls' generation make'em feel the heat! [Sunny] Jeon segega uri jumokgae [All] B-Bring the boys out [Tiffany] Sesangeurikkeul namja Myeotjin yeojadeul yeogi moyeora [All/Tiffany] You know the girls [All] B-Bring the boys out More lyrics: http://www.lyricsmode.com/lyrics/s/snsd/#share .
Load more

Recommended publications
  • Published 22 February 2019 LKFF 2012
    THE LONDON KOREAN FILM FESTIVAL 제7회 런던한국영화제 1-16 NoVEMBER StARTING IN LONDON AND ON TOUR IN BOURNEMOUTH, GlASGOW AND BRISTOL 12�OZE�293 OZ Quadra Smartium(Film Festival).pdf 1 10/18/12 6:14 PM A MESSAGEUR ROM O TOR LONDON-SEOUL, DAILY F TIC DIREC ASIANA AIRLINES ARTIS is redefining It is with great pride and honour that I welcome you to the 7th London Korean Film Festival. Regardless of whether you are a connoisseur of Korean cinema or completely Business Class. new to the country’s film scene, we have created an exciting and varied C Beginning November 17th, all the comforts of programme that will delight, thrill, scare and, most importantly, entertain you. M our new premium business class seat, Y the OZ Quadra Smartium, can be yours. We start off large with our return to the Odeon West End with one of the CM There’s a wonderful new way to get back and biggest Korean films in the last ten years;The Thieves. Our presentation MY forth to Seoul everyday. Announcing Asiana Airlines’ innovative of this exciting crime caper also sees its director, Choi Dong-hoon, and new premium business class seat, the OZ Quadra Smartium, lead actor Kim Yoon-suk gracing London’s Leicester Square. CY offering you both the privacy of your own space CMY and the relaxation of a full-flat bed. From the 2nd of November through to the 10th in London (continuing until the 16th in K Glasgow, Bristol and Bournemouth) we will show everything from the big box office hits to the smallest of independents, ending with the much-lauded Masquerade, as our closing Gala feature.
    [Show full text]
  • Analysing Korean Popular Music for Global
    Analysing Korean Popular Music for Global Audiences: A Social Semiotic Approach Jonas Robertson Paper originally submitted March 2014 to the Department of English of the University of Birmingham, UK, as an assignment in Multimodal Communication, in partial fulfillment of a Master of Arts in Teaching English as a Foreign / Second Language (TEFL / TESL). Assignment: MMC/13/04 Collect between three and five pieces of music that might be taken to represent a particular artist, genre, style, or mood and present an analysis in terms of the social semiotic approach to music. You might like to concentrate on one or more of the following: - Timing - Sound quality - Melody - Perspective - Tagg’s Sign Typology Reflect briefly on how useful you found the framework in identifying how the pieces of music you chose might work to make meanings. 1 Contents 1 Introduction 3 2 Background of Social Semiotics and Music 3 3 Framework for Analysis 4 4 Analysis A: Fantastic Baby by Big Bang 7 5 Analysis B: I Got a Boy by Girls’ Generation 8 6 Analysis C: The Baddest Female by CL 10 7 Analysis D: La Song by Rain 12 8 Discussion 14 9 Conclusion 15 References 17 Appendices 19 2 1 Introduction This paper documents the analysis of four sample selections of Korean popular music (K- pop) from a social semiotic approach to determine what meanings are conveyed musically. Each of these songs have been selected as examples of K-pop that have been designed to be marketed beyond the borders of Korea, targeting an increasingly global audience. Despite featuring primarily Korean lyrics, these major hits remain popular among the millions of fans overseas who cannot understand most of the words.
    [Show full text]
  • Download (232Kb)
    BAB III METODOLOGI PENELITIAN A. Metode dan Desain Penelitian Penelitian ini menggunakan metode deskriptif. Metode deskriptif melakukan analisis hanya pada taraf deskripsi yaitu menganalisis dan menyajikan fakta secara sistematik sehingga dapat lebih mudah dipahami dan disimpulkan (Dharminto, 2007: 6). Metode deskriptif dipilih untuk mendeskripsikan data-data penelitian. Data penelitian ini adalah sebuah cerpen fanfiction comedy. Dengan menggunakan metode deskriptif akan dideskripsikan berbagai tuturan yang terkandung dalam cerpen fanfiction comedy. Tuturan yang akan dianalisis merupakan tuturan yang berisi sesuatu yang lucu dan menghibur. Penelitian ini menggunakan pendekatan fungsional. Pendekatan fungsional menempatkan manusia sebagai penutur. Selain itu juga memasukkan berbagai unsur lain di luar bahasa. Dalam penelitian ini akan diungkapkan berbagai tuturan yang menghibur dalam cerpen fanfiction comedy. Akan diungkap juga berbagai respon pembaca terhadap cerpen fanfiction comedy, umumnya bagi para orang yang menyukai kpop. B. Populasi dan Sampel Sumber data untuk penelitian ini adalah cerpen fanfiction. Cerpen fanfiction tersebut diambil dari sebuah blog yang sudah terkenal di kalangan remaja khususnya yang suka membaca cerpen fanfiction. Blog tersebut adalah Fanfiction2020. Blog ini merupakan blog khusus untuk cerpen fanfiction berbagai genre termasuk cerpen fanfiction comedy. Sampai saat ini blog yang sangat digemari remaja itu masih aktif memposting berbagai cerpen fanfiction, termasuk cerpen fanfiction comedy. Pembacanya sudah sangat banyak juga disertai dengan berbagai komentar yang beragam. Kebanyakan dari pembaca cerpen fanfiction tersebut berkomentar positif serta menyukai cerita yang disajikan. 26 Risna Desiana Sahman, 2014 Variasi Bahasa Humor dalam Kumpulan Cerpen Fanfiction Comedy Universitas Pendidikan Indonesia | repository.upi.edu | 27 Tidak semua cerpen fanfiction yang ada dalam blog tersebut dianalisis dalam penelitian ini. Hanya yang bergenre comedy saja yang dianalisis.
    [Show full text]
  • Taeyeon Oh, Ph. D
    CURRICULUM VITA OF: Taeyeon Oh, Ph. D. Assistant Professor of Sport Analytics Department of Health, Exercise Science, and Recreation Management University of Mississippi 642 All-American Drive (Suite – 221 Turner Center) University, MS, 38677, USA Tel: +1-(662)-915-2703 [email protected] [email protected] EDUCATION: Seoul National University, Seoul, South Korea, 2012 - 2016 - Ph. D in Sport Management - Dissertation Title: Analyzing Competition Structure of Sports Broadcasting Contents: Focused on Television Broadcasting Market Sogang University, Seoul, South Korea, 2010 - 2012 - M.A. in Economics, Administration degree in Econometrics & Sports Economics - Thesis Paper Title: Measurement of Monopsony Exploitation in Salary Determination: Case of Major League Baseball Sogang University, Seoul, South Korea, 2001 - 2008 - B.S. in Mathematics RESEARCH FOCUS: - Data Analytics of Sports Phenomena - Sport Marketing and Media - Sport Industry WORK EXPERIENCE: - Assistant Professor, Health and Sports Analytics Laboratory, Department of Health, Exercise Science, and Recreation Management, The University of Mississippi, US, August, 2018 - present - Post-Doctoral Research Fellow, Center for Global Sports and Recreation Studies, Hong Kong Baptist University, Hong Kong, Jan, 2017 – Mar, 2018 - Part-time Lecturer, Department of Leisure and Sports, Pai Chai University, South Korea, spring, 2015 – fall, 2016 1 - Graduate Research Assistant, Seoul National University, South Korea, 2012 – 2016 - Tutor for Masters, Dream Together Master Program, Seoul National University, South Korea, 2014 - 2015 - Full-time Researcher, Korean Economic Research Institute, South Korea, Jan, 2012 – Aug, 2012 - Graduate Teaching Assistant, Sogang University, South Korea, 2010 – 2012 - Financial Consultant, Shinhan Bank, South Korea, 2008 - 2009 PUBLICATIONS: Publications in Refereed Journals (†Corresponding Author) 1. Kwon, K., Oh, T., Lee, J., & Kang, J.
    [Show full text]
  • UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title K- Popping: Korean Women, K-Pop, and Fandom Permalink https://escholarship.org/uc/item/5pj4n52q Author Kim, Jungwon Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE K- Popping: Korean Women, K-Pop, and Fandom A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Jungwon Kim December 2017 Dissertation Committee: Dr. Deborah Wong, Chairperson Dr. Kelly Y. Jeong Dr. René T.A. Lysloff Dr. Jonathan Ritter Copyright by Jungwon Kim 2017 The Dissertation of Jungwon Kim is approved: Committee Chairperson University of California, Riverside Acknowledgements Without wonderful people who supported me throughout the course of my research, I would have been unable to finish this dissertation. I am deeply grateful to each of them. First, I want to express my most heartfelt gratitude to my advisor, Deborah Wong, who has been an amazing scholarly mentor as well as a model for living a humane life. Thanks to her encouragement in 2012, after I encountered her and gave her my portfolio at the SEM in New Orleans, I decided to pursue my doctorate at UCR in 2013. Thank you for continuously encouraging me to carry through my research project and earnestly giving me your critical advice and feedback on this dissertation. I would like to extend my warmest thanks to my dissertation committee members, Kelly Jeong, René Lysloff, and Jonathan Ritter. Through taking seminars and individual studies with these great faculty members at UCR, I gained my expertise in Korean studies, popular music studies, and ethnomusicology.
    [Show full text]
  • Lirik Lagu DEAR MY FAMILY (OST
    Lirik Lagu DEAR MY FAMILY (OST. I AM) + Translate by Prince 19 Oktober 2012 pukul 23:36 [Changmin] naega seol goseul chajeul suga eobseul ttae Bogpung sogeseo gireul ireo beoryeoseul ttae [Luna] eonjena pyeonaji anneun saramgwa yonggireul chusheodeon geudeurege gamsareul ponaeyeo [Baekhyun] ttaereon honjarago neuggyeoseul ttaega isseojwo [D.O] Mani ureodeon chinnarae nae moseube [Yesung] eolmana maeumi appaseulgayo himdeudeo seulgayeo Ijeseoya nan al geotman gatayo [Taeyeon] nae insaengi kkeutnal ttaeggaji Isesangi kkeutnal ttaeggaji Urin yeongwonhi hamkke iseul geoyeyeo [All] jageun maeum moageun him doedeut Urin hanaran geoseul mitgo iseoyeo Urihamkke, haengbog mandeuroyeo Memareun sesang soge bichi tweneun nalggaji [Taeyeon] saranghaeyo [Chen] nawa gateun kkumeul kkugo itnayo [Lu Han] Jeongmal nawa gateun goseul barabogo itnayo [Jonghyun] geugeotmani sesangye modeun apeumeul jiryohal su iseoyeo Seoreo aggyeo chul suman idamyeon [Yunho] nae insaengi kkeutnal ttaeggaji isesangi kkeutnal ttaeggaji Urin yeongwonhi hamkke iseul geoyeyeo [All] jageun maeum, moageun, him twedeut Urin hanaran geoseul mitgo iseoyeo Urihamkke, haengbok mandeuroyeo Memareun sesang soge bichi tweneun nalggaji [Changmin] saranghaeyo [Kangta] uri apeseo cheolmang haebeorin saramdeuri idamyeon Dashi ireonal geun himi dwae chweoyahae [BoA] nawa gateun kajoge, songiri piryohal ttaenigga [All] jageun maeum, moageun, him twedeut Urin hanaran geoseul mitgo iseoyeo Urihamkke, haengbok mandeuroyeo Memareun sesang soge bichi tweneun nalggaji [BoA] saranghaeyo [Changmin] Naega
    [Show full text]
  • KOREAN DISCOURSE and GENRE Materials for Intermediate/Advanced Korean Based on the National Standards
    KOREAN DISCOURSE AND GENRE Materials for Intermediate/Advanced Korean Based on the National Standards Susan Strauss and HeeSun Chang The Pennsylvania State University The Korean Wave — 한류 (韓韓): K-POP 엑소 (EXO) ©CENTER FOR ADVANCED LANGUAGE PROFICIENCY EDUCATION AND RESEARCH (CALPER) – THE PENNSYLVANIA STATE UNIVERSITY 1 THE KOREAN WAVE 한류 (韓韓) INTRODUCTION The Standards for Korean Language Teaching have recently been developed and published through ACTFL (American Council on the Teaching of Foreign Languages). They center on five basic concepts, referred to as the 5Cs: Communication, Cultures, Connections, Comparisons, and Communities and are intended to replace the more mechanical and artificial categories of proficiency, commonly known as the “4 skills” of listening, speaking, reading, and writing. The 5Cs of the Standards shift the focus away from the “skill” of language and instead highlight elements of language that are linked to people and culture and discourse. At the same time, the Standards provide teachers and learners with specific, concrete sets of goals to strive for in learning and teaching Korean. The units developed in this series, Korean Discourse and Genre, are designed to complement existing pedagogical materials for Korean. They contain authentic, media-based samples of actual language used in Korea by Koreans for specific interactional purposes: television programs (e.g., talk shows, reality shows, news, weather reports), radio programs, films, internet-based discourse (interviews, reviews, blogs, news items, recipes), and the like. The focus of our units is on Discourse and Genre. Discourse relates generally to language and how language is used in these various communicative contexts. Genre refers to the specific ways in which particular features of language combine to create a certain type of discourse, e.g., conversation, expository writing, formal interview, recipes, weather reports, diary entries, and so forth.
    [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]
  • Girls' Generation's Taeyeon
    credit photos : Dabeztt sur Flickr photos : Dabeztt credit Girls’ Generation’s Taeyeon Is Its First Member to Go Solo & First to Hit No. 1 But, admittedly, Tay likely wouldn’t «Taey-lor Swift, be able to nail a vocal performance like this one. Taeyeon belts for her life on the final chorus while anyoneThe EP’s title track strips away ?» the peppy-pop Girls’ Generation is known for in place of a lush, acoustic- demonstrating restraint by emoting leaning pop-rock cut that recalls some of Taylor Swift’s material from her last country album, the somewhat-poppy Red -- namely, the euphoric album opener «State of Grace.» Taey-lor Swift, anyone? through the earlier sections with a standout coming as a choir, Taeyeon and featured rapper Verbal Jint blend as one on the first pre-chorus. 3 4 was released on Wednesday, Oct. 7, sells x2,000 copies in its first tracking week with just two days of sales. It not only gives Taeyeon her first No. 1 on a U.S.-based Billboard chart for World Albums, but also makes her the first Girls’ Generation member to do so. I Iis also the highest-charting K-pop album on Heatseekers this year. «I» has continuously sold well in Taeyeon’s native Korea, topping the domestic digital charts for days since its release. Meanwhile, its music video has already racked up more than 10 million views. Meanwhile, the accompanying un fact music video seems to be a commentary on the starlet balancing her professional life and personal freedom. Shot in New Zealand, the gorgeous vid sees Tae playing two characters: a waitress in a pub who gets fed up with her boss and sets off the explore the countryside, and a carefree woman roaming around the beach.
    [Show full text]
  • Amber Liu, K-Pop Tomboy 214
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Ateneo de Manila University: Journals Online Laforgia & Howard / Amber Liu, K-Pop Tomboy 214 AMBER LIU, K-POP TOMBOY Reshaping Femininity in Mainstream K-Pop Paola Laforgia SOAS, University of London [email protected] Keith Howard SOAS, University of London [email protected] Abstract South Korean mainstream pop music, known simply as K-Pop, has become such a huge phenomenon in recent years that it is playing a decisive role in reshaping Korean culture and identity. Indeed, the K-Pop phenomenon is much more than just something musical, intertwining a complexity of sound, performance, ethnicity and gender. A contextual analysis needs therefore to take all these elements into consideration. This paper aims to show how K-Pop plays a crucial role in promoting ideologies, and defining gender roles. It does so by analyzing the music and image of the Taiwanese-American originating singer Amber Liu. Liu goes against the standard gender identification and behavior that Korean society imposes on women, and by doing so she can be said to represent a shift in the portrayal and performance of femininity through K-pop. But, how is her gender behavior tolerated, and to what extent is this a stage behavior required and promoted by her management company as a way to mark out difference? Keywords Femininity, Gender, K-Pop, Mainstream Music, South Korea Kritika Kultura 29 (2017): –231 © Ateneo de Manila University <http://journals.ateneo.edu/ojs/kk/> Laforgia & Howard / Amber Liu, K-Pop Tomboy 215 About the Authors Paola Laforgia has a BA in Philosophy and an MA in Global Creative and Cultural Industries.
    [Show full text]
  • GPMS Gazette March, 2019
    The Official Newsletter of Gregory-Portland Middle School: Home of the World’s Greatest Students! Academic UIL winners: Brodie Mitchel, Diego Aguillon, Adrian Galvan, Natalie DeLeon, Emma Denton & Erin Ebers. More details inside! Photo by Brooke Moreno Visit www.g-pisd.org/gpms/community to view, GPMS Gazette download, and/or print your own copies in… March, 2019 Brought to you by students in the GPMS Press Corps! Jonathon Martinez Executive Editor March “color” by Jessie Riojas GPMS NEWS News Editor: Faith Pitts (with help from Toonie, the Press Corps Broonie) Math Counts By Melany Castillo Photos provided by Collen Johnson 3rd-place winners (left-to-right, above) Lleyton Davidson, Elisabeth Miller, Eli Gerick and Elena Miller represented GPMS at the February 2, 2019 Math Counts meet. The team was selected by Mrs. Biediger, and some volunteered. The team can only have 4 students. Mrs. Biediger selected them from her UIL team. There were additional students who went to the November practice round. Eight students participated in the practice meet last fall. (Continued on next page) (Math Counts, continued from previous page) The Nueces Chapter of the Texas Society of Professional Engineers and some local companies sponsor the event each year to challenge 6th-8th grade students with engineering-type problem solving. The competition consists of several different tests and a team test, like the UIL Math competitions. Currently they provide a stipend of up to $500 each competition year to up to two teachers per school for attendance at a free workshop in the fall with continuing education credits ($100), the practice ($200) and the competition ($200).
    [Show full text]
  • Fanwar: Perang Antar Fans Idol K-Pop Di Media Sosial
    Jurnal Emik, Volume 1 Nomor 1, Desember 2018 Fanwar: Perang antar Fans Idol K-Pop di Media Sosial Lastriani [email protected] Universitas Hasanuddin Abstract At present, the use of social media tends to be an inseparable need from humans. In addition to getting daily news, social media also provides information about artists/idols. People who are looking for information about their idols are fans who are generally teenagers, including Indonesian teenagers. There are several idols who are idolized by Indonesian teenagers, including idols from South Korea. This article deals with war between K-Pop idol’s fans in cyber space. The study was conducted through social media, namely Instagram and Twitter that not only fans, but also their idol use Instagram and Twitter as their media of interaction. Therefore, fanwar is also carried out in both social media. Eleven participants get involved in this study. They are Indonesian teenagers who use both social media, consisting of five fans and six who have participated in and/or have carried out fanwar through social media. Data was collected using observation in social media and in-depth interview. The study indicates that fanwar is generally caused by the number of idol voting in the competition, the number of idol’s sold performance tickets, rating of drama, style between idols, and dating style between idols. Fans can be an individual and can also be a group of fans (fandom). But membership can be more than one fandom (multi-fandom). When a fanwar takes place, a person or fandom must choose on which side he/she is taking.
    [Show full text]