DOCSLIB.ORG

Clinical Science

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Clinical Science Clinical Science APA Society for the Science of Clinical Psychology III Section III of the Division of Clinical Psychology of Division12 the American Psychological Association Ψ Developing clinical psychology as an experimental-behavioral science Newsletter Winter 2020: Volume 24, Issue 1 SSCP Executive Board Inside The Issue President: Joanne Davila, Ph.D. Stony Brook University Presidential Column J. Davila........................................................................................................2 Past-President: Carolyn Becker, Ph.D. Trinity University Diversity Corner President-Elect: “And Then There Was COVID”: Understanding the Graduate Student Cindy McGeary, Ph.D. Experience from the Perspective of an African American Student During University of Texas Health Science COVID-19 Center D. McDuffie...................................................................................................6 Secretary/Treasurer: Matthew Lerner, Ph.D. Stony Brook University Clinician Perspective Client Attitudes Towards Telemental Health and What We Can Do to Division 12 Representative: Address Them Robert Klepac, Ph.D. University of Texas Health Science H. Brockstein................................................................................................9 Center Student Representatives: Early Career Perspective Alexandra Klein, M.A. “It Won’t Cost You Much, Just Your Voice!”: On Rediscovering A Human Case Western Reserve University Voice in Academia Ana Rabasco, M.A. C. Rodriguez-Seijas...................................................................................12 Fordham University At Large Members: Student Perspective Katherine Baucom, Ph.D. Telehealth in Clinical Psychology: Challenges and Future Directions University of Utah H. Willis......................................................................................................15 Michael Wheaton, Ph.D. Barnard College Introductory SSCP Diversity Blog..............................................19 Postdoc Representative: Amy Stewart, Ph.D. Awards & Recognition.....................................................................20 University of California, Los Angeles Convention Coordinator: Student Special Feature..................................................................29 Rosanna Breaux, Ph.D. Virginia Commonwealth University Updates from Student Representatives Diversity Committee Representative: A. Klein & A. Rabasco...............................................................................31 Joya Hampton-Anderson, Ph.D. Emory School of Medicine Articles published in Clinical Science represent the views of the authors and not necessarily Clinical Science Editor: those of the Society for a Science of Clinical Psychology, the Society of Clinical Psychology, Jessica L. Hamilton, Ph.D. or the American Psychological Association. Submissions representing differing views, com- University of Pittsburgh ments, and letters to the editor are welcome. Clinical Science Vol. 24 (2/3): Fall 2020 2 Presidential Column Joanne Davila, Ph.D. Stony Brook University I will start this Presi- stage for how I have been thinking about what’s dential column by say- happened, and SSCP’s role going forward. Back ing that this has not in September 2019, when I was President-Elect, been the year I thought Tom Olino (our prior APS Convention organizer) it was going to be. told me that I would need to give a Presidential Indeed, I never could address at APS. Somehow, I hadn’t realized that. have predicted what I actually like giving talks, but I didn’t know what I would happen during wanted to talk about and the idea of a Presidential my SSCP Presidency address felt somewhat daunting. So I said to Tom, and how science could “Ugh, do I have to? I really don’t want to... Would be affected. I wrote this I be totally out of line if I didn’t do this?” Tom was column in early Septem- quite surprised by this, knowing me, and he was ber, as I was reflecting very kind in response (and basically said “yes, you on a very difficult six have to”), but I continued to fret (privately) about months. And even in the my talk. Well, then came the COVID pandemic, weeks between when the cancellation of APS, and, of course, the can- I prepared this column cellation of my talk. Fortunately, I’m enough of a and its publication just now, events happened, the scientist to know that I didn’t cause the pandem- timing of which I could not have predicted. ic with my wish to not give a talk, but it certainly is one of those “be careful what you wish for” One of those was the passing of Scott Lilienfeld. situations! Anyway, not to let passive avoidance take over, I wrote my Presidential address and Though I could not have predicted when we would delivered it as an SSCP VCL. And, of course, now lose Scott, it was not unexpected. Sadly, when I really wish that I had been able to give the talk I stepped into the role of President in January, I at APS. knew that it was coming. What I didn’t know was coming last January was that Scott would resign I’ve had a number of moments this past year and sever his relationship with SSCP later in June. when I wished for things, in addition to those That was completely unexpected. I never would related to my Presidential address. I wished have predicted it, nor the content and intensity of the pandemic had never happened. I wished the listserv debate that he initiated. Regardless George Floyd (and all the others) had never been of your take on that debate, I suspect that most of murdered. I wished that we could just go back us would agree that the debate changed SSCP in to the time before all of this. But, of course, we some ways. I also believe that we can find another can’t. And I quickly came to see that we shouldn’t, point of agreement. Whatever your feelings about even if we could, because these events must Scott, I think we can all agree that Scott made be used to teach us about science. The COVID extensive, significant contributions to clinical pandemic, and how it has been handled, reinforc- psychological science, and challenged the field es the importance of science, the importance of to think critically in novel ways. This is why Scott using science to make informed decisions, and received the SSCP Visionary Award (formerly the importance of promoting science to everyone. the Scott Lilienfeld Visionary Award). Though the The blatant racist police brutality in the US has award no longer bears his name (on his request), drawn our attention to, among other things, the that he was the inaugural recipient of it will always structural and systemic racism that exists, includ- be a part of SSCP history. In addition, as you may ing in science and academia. Although it’s easy know from the listserv, the SSCP Board is discuss- to wish this wasn’t true, we would be abandoning ing, in consultation with stakeholders, the best way our roles as scientists if we did so. to honor Scott in the context of his resignation and request. A key aspect of science is questioning. When I was growing up, I was told not to question things, So, now I will continue on with what I wrote in early and particularly not to ask people too many ques- September, reflecting on other unexpected events tions. But I had a lot of questions, and, although it of the year and their effect on science. I’ll start was hard for me to ask them (you can only imag- by telling you a non-scientific story that sets the ine the first time I did therapy!), I wanted to, and I Clinical Science Vol. 24 (2/3): Fall 2020 3 knew I had to. My training reinforced this. So now, I that the quality of the relationships we have with bring this questioning to my own science and to the people, and the extent to which we feel support- endeavor of science itself in light of calls to look at ed and not discriminated against (including in our structural and systemic racism. If we, as scientists, workplace), is related to our well-being, and this don’t question our own science – including, how it appears to be true across racial/ethnic groups. developed, what we value and why, our assump- tions, the theories and methods and samples we My reflections on what has happened in our world use – then we’re not being good scientists. since March 2020 and on the state of relation- ship science (broadly speaking) reinforced two key things that I believe we, as individuals, as an “If we, as scientists, don’t question our organization, and as a field, need to do. One is own science – including, how it devel- to examine ourselves and our science because, oped, what we value and why, our as I noted earlier, questioning is a foundation of assumptions, the theories and meth- science. The other is to build supportive relation- ods and samples we use – then we’re ships with others, because science tells us how not being good scientists.” critical relationships are to healthy functioning, across diverse individuals. Importantly, both of these are central to developing cultural humility My Presidential address was all about question- and to creating an inclusive environment. At the ing. Although not focused on issues related to core of doing so is self-examination and aware- racism, it was focused on other aspects of diver- ness, the examination and awareness of struc- sity in relationship science, including sexual and tures in our life that we have taken for granted, and gender orientation, and diversity in relationship being other-oriented in a way that conveys under- types. In the talk, I questioned key assumptions standing, value, and respect, and allows for the on which the field had been operating, with the building of collaborative relationships (e.g., Duan, hopes of encouraging new ways of thinking about 2020; Hook, Davis, Owen, & DeBleare, 2017). and approaching relationships. Relationship sci- ence also needs to pay greater attention to diver- In the context of this, let me reflect on my SSCP sity with regard to race/ethnicity as well, though I Presidency thus far. In my February 2020 column, am heartened by the work that does exist.
Load more

Recommended publications
  • L'elysée Montmartre Ticket Reservation
    A member of X-Japan in France ! Ra :IN in Paris the 5th of May 2005 Gfdgfd We have the pleasure to announce that the solo band of PATA (ex-X-Japan), Ra :IN, will perform live at the Elysee Montmartre in Paris (France) the 5th of May 2005. " Ra:IN " (pronounced "rah'een")----is an amazing unique, powerful new rock trio consisting of PATA (guitar-Tomoaki Ishizuka), one of the guitarists from the legendary Japanese rock band X Japan, michiaki (bass-Michiaki Suzuki), originally from another legendary Yokohama based rock band TENSAW, and Tetsu Mukaiyama (drums), who supported various bands and musicians such as Red Warriors and CoCCo. " Ra:IN " 's uniqueness comes from its musical eloquence. The three-piece band mainly delves into instrumental works, and the band's combination of colorful tones and sounds, along with the tight playing only possible with top-notch skilled players, provides an overwhelming power and energy that is what " ROCK " is all about. Just cool and heavy rhythms. But above all, don’t miss the first opportunity to see on stage in Europe a member of X-Japan, PATA (one of the last still performing). One of those that with their music, during years, warmed the heart of millions of fans in Japan and across the world. Ra :IN live in Paris website : http://parisvisualprod.free.fr Ra :IN website : http://www.rain-web.com Ticket Reservation Europe : Pre-Sales on Official Event Website : http://parisvisualprod.free.fr Japan : For Fan tour, please contact : [email protected] Worlwide (From 01st of March 2005) : TICKETNET
    [Show full text]
  • The Native American Fine Art Movement: a Resource Guide by Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba
    2301 North Central Avenue, Phoenix, Arizona 85004-1323 www.heard.org The Native American Fine Art Movement: A Resource Guide By Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba HEARD MUSEUM PHOENIX, ARIZONA ©1994 Development of this resource guide was funded by the Nathan Cummings Foundation. This resource guide focuses on painting and sculpture produced by Native Americans in the continental United States since 1900. The emphasis on artists from the Southwest and Oklahoma is an indication of the importance of those regions to the on-going development of Native American art in this century and the reality of academic study. TABLE OF CONTENTS ● Acknowledgements and Credits ● A Note to Educators ● Introduction ● Chapter One: Early Narrative Genre Painting ● Chapter Two: San Ildefonso Watercolor Movement ● Chapter Three: Painting in the Southwest: "The Studio" ● Chapter Four: Native American Art in Oklahoma: The Kiowa and Bacone Artists ● Chapter Five: Five Civilized Tribes ● Chapter Six: Recent Narrative Genre Painting ● Chapter Seven: New Indian Painting ● Chapter Eight: Recent Native American Art ● Conclusion ● Native American History Timeline ● Key Points ● Review and Study Questions ● Discussion Questions and Activities ● Glossary of Art History Terms ● Annotated Suggested Reading ● Illustrations ● Looking at the Artworks: Points to Highlight or Recall Acknowledgements and Credits Authors: Margaret Archuleta Michelle Meyers Susan Shaffer Nahmias Jo Ann Woodsum Jonathan Yorba Special thanks to: Ann Marshall, Director of Research Lisa MacCollum, Exhibits and Graphics Coordinator Angelina Holmes, Curatorial Administrative Assistant Tatiana Slock, Intern Carrie Heinonen, Research Associate Funding for development provided by the Nathan Cummings Foundation. Copyright Notice All artworks reproduced with permission.
    [Show full text]
  • February 2017 New York State Bar Examination MEE & MPT Questions
    February 2017 New York State Bar Examination MEE & MPT Questions © 2017 National Conference of Bar Examiners MEE 1 On June 15, a professional cook had a conversation with her neighbor, an amateur gardener with no business experience who grew tomatoes for home use and to give to relatives. During the conversation, the cook mentioned that she might be interested in “branching out into making salsa” and that, if she did branch out, she would need to buy large quantities of tomatoes. Although the gardener had never sold tomatoes before, he told the cook that, if she wanted to buy tomatoes for salsa, he would be willing to sell her all the tomatoes he grew in his half-acre home garden that summer for $25 per bushel. Later on June 15, shortly after this conversation, the cook said to the gardener, “I’m very interested in the possibility of buying tomatoes from you.” She then handed a document to the gardener and asked him to sign it. The document stated, “I offer to sell to [the cook] all the tomatoes I grow in my home garden this summer for $25 per bushel. I will hold this offer open for 14 days.” The gardener signed the document and handed it back to the cook. On June 19, the proprietor of a farmers’ market offered to buy all the tomatoes that the gardener grew in his home garden that summer for $35 per bushel. The gardener, happy about the chance to make more money, agreed, and the parties entered into a contract for the gardener to sell his tomatoes to the proprietor.
    [Show full text]
  • The International Record Company Discography
    The International Record Company Discography Second Edition Allan Sutton Data Compiled by William R. Bryant and The Record Research Associates Contributors Mark McDaniel, Ryan Barna, and David Giovannoni Mainspring Press Online Editions This Edition Is Licensed for Personal Use Only Sale or Other Commercial Use Is Prohibited © 2021 by Allan R. Sutton. All rights are reserved. This publication is protected under U.S. copyright law as a work of original scholarship. It may downloaded free of charge for personal, non-commercial use only, subject to the following conditions: No portion of this work may be duplicated or distributed in any form, or by any means, including (but not limited to) print and digital media, transmission via the Internet, or conversion to and dissemination via digital archives, databases, or e-books. Sale or any other commercial or unauthorized duplication and distribution of this work, whether or not for monetary gain, is prohibited and will be addressed under applicable civil and/ or criminal statutes. For information on licensing this work, or for reproduction exceeding customary fair- use standards, please contact the publisher. Mainspring Press www.mainspringpress.com / [email protected] Using the Discography All titles were issued in single-sided form under the catalog numbers shown in the left column. Labels on which each selection are confirmed to have appeared are listed following the artist line. Unless otherwise noted in parentheses, corresponding issues use the identical catalog number. Given the rarity of these records, and the lack of original catalogs for most client labels, there are undoubtedly releases on other labels that have yet to be discovered.
    [Show full text]
  • Various Parade - a Tribute to Buck-Tick Mp3, Flac, Wma
    Various Parade - A Tribute To Buck-Tick mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock / Pop Album: Parade - A Tribute To Buck-Tick Country: Japan Released: 2005 Style: Alternative Rock, Hard Rock, Punk, Hardcore MP3 version RAR size: 1330 mb FLAC version RAR size: 1983 mb WMA version RAR size: 1758 mb Rating: 4.9 Votes: 346 Other Formats: AIFF AA AUD AC3 AAC MIDI MP2 Tracklist Hide Credits Just One More Kiss 1 –清春 Bass – 沖山優司*Drums – 小西昭次郎*Guitar – 中村佳嗣*Guitar, Programmed By – 三代 堅*Vocals – 清春 Iconoclasm 2 –J Drums, Chorus – Scott GarrettGuitar – Masasucks, 藤田"CBGB"タカシ*Vocals, Bass – J Moon Light 3 –Balzac Bass – Akio Drums – TakayukiGuitar – Atsushi Vocals – Hirosuke 見えない物を見ようとする誤解 全て誤解だ 4 –土屋昌巳* Guitar, Bass, Synthesizer, Vocals – 土屋昌巳*Programmed By – D-Kikuchi* My Fuckin' Valentine Drums – Kenichi*Guitar, Vocals – Fujino Programmed By, Vocoder – Suke 5 –Attack Haus Vocals, Bass, Programmed By – Makko Vocals, Guitar, Programmed By – Masashi Living On The Net 6 –Buck-Tick Remix – Ken Ishii 囁き 7 –遠藤ミチロウ* Acoustic Guitar – 山本久土*Percussion – 帆足哲昭*Vocals – 遠藤ミチロウ* 六月の沖縄 8 –Theatre Brook Bass – 中條卓*Drums – 沼澤尚*Keyboards – エマーソン北村*Vocals, Guitar – 佐藤タイジ* スピード 9 –MCU Guitar – Mac*Performer [Sanshin] – 比嘉大祐* Monster 10 –Runaway Boys Guitar, Programmed By, Recorded By, Mixed By – Nackie*Vocals – Kyo Physical Neurose 11 –Age Of Punk Bass – Hiroki Drums, Backing Vocals, Electronics – 岡崎達成*Vocals, Guitar, Electronics – Asaki 悪の華 12 –Rally Bass – ウエノコウジ*Drums – Motokatsu MiyagamiGuitar – Hisashi*Vocals – Teru ドレス –Abingdon Boys
    [Show full text]
  • Rub-A-Dub in the Hot
    14 發光的城市 A R O U N D T O W N FRIDAY, AUGUST 28, 2009 • TAIPEI TIMES BY ALita RICKards MUSIC STOP Rub-a-dub in the hot tub here is a feeling of decadence when you We hope it will be fresh, with something sit in a hot tub with dozens of your closest for everyone.” friends (at least in terms of proximity) New electronic acts include The Soul Tdrinking a cocktail and bobbing to a DJ. Sweat and Swank Show, vDub, Genetically COMPILED BY Ian BartHOLOmeW Every act interviewed for this story Modified Beats, DJ Charles, Juni, Edify and mentioned the hot tub, with both bands and Supermilkmen, with returning favorites to such an extent that he called DJs playing at this weekend’s Lost Lagoon including Marcus Aurelius and Hooker. the marriage off, making the blowout at Wulai craving a soak as part of Two bands are flying in from Australia particularly hurtful comment that their party experience. to perform: electric glam rock solo artist he wasn’t sure if he loved Chu Add three natural spring-water FutureMan, and God’s Wounds. The latter enough to make the commitment swimming pools, a venue surrounded by formed last year and gained a residency at of marriage. mountains and lush foliage, free camping The Excelsior, in Sydney, with its Nintendo- Lau is not the only superstar and cabins with private hot tubs, and you influenced live punk-electro. Its influences who has worked hard to keep a have an event that combines the best of include car crashes, Japanese monster long-standing relationship secret.
    [Show full text]
  • 19-368 Ford Motor Co. V. Montana Eighth Judicial
    (Slip Opinion) OCTOBER TERM, 2020 1 Syllabus NOTE: Where it is feasible, a syllabus (headnote) will be released, as is being done in connection with this case, at the time the opinion is issued. The syllabus constitutes no part of the opinion of the Court but has been prepared by the Reporter of Decisions for the convenience of the reader. See United States v. Detroit Timber & Lumber Co., 200 U. S. 321, 337. SUPREME COURT OF THE UNITED STATES Syllabus FORD MOTOR CO. v. MONTANA EIGHTH JUDICIAL DISTRICT COURT ET AL. CERTIORARI TO THE SUPREME COURT OF MONTANA No. 19–368. Argued October 7, 2020—Decided March 25, 2021* Ford Motor Company is a global auto company, incorporated in Delaware and headquartered in Michigan. Ford markets, sells, and services its products across the United States and overseas. The company also encourages a resale market for its vehicles. In each of these two cases, a state court exercised jurisdiction over Ford in a products-liability suit stemming from a car accident that injured a resident in the State. The first suit alleged that a 1996 Ford Explorer had malfunctioned, killing Markkaya Gullett near her home in Montana. In the second suit, Adam Bandemer claimed that he was injured in a collision on a Min- nesota road involving a defective 1994 Crown Victoria. Ford moved to dismiss both suits for lack of personal jurisdiction. It argued that each state court had jurisdiction only if the company’s conduct in the State had given rise to the plaintiff’s claims. And that causal link existed, according to Ford, only if the company had designed, manufactured, or sold in the State the particular vehicle involved in the accident.
    [Show full text]
  • Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
    Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.
    [Show full text]
  • Cattle Fever Tick Eradication Program – Tick Control Barrier
    United States Department of Agriculture Cattle Fever Tick Marketing and Regulatory Programs Eradication Program – Animal and Plant Health Tick Control Barrier Inspection Service Maverick, Starr, Webb, and Zapata Counties, Texas Draft Environmental Impact Statement—June 2013 Cattle Fever Tick Eradication Program – Tick Control Barrier Maverick, Starr, Webb, and Zapata Counties, Texas Draft Environmental Impact Statement— June 2013 Agency Contact: Matthew T. Messenger Staff Entomologist Cattle Fever Tick Eradication Program Manager Veterinary Services Animal and Plant Health Inspection Service U.S. Department of Agriculture 4700 River Road, Unit 43 Riverdale, MD 20737 Non-Discrimination Policy The U.S. Department of Agriculture (USDA) prohibits discrimination against its customers, employees, and applicants for employment on the bases of race, color, national origin, age, disability, sex, gender identity, religion, reprisal, and where applicable, political beliefs, marital status, familial or parental status, sexual orientation, or all or part of an individual's income is derived from any public assistance program, or protected genetic information in employment or in any program or activity conducted or funded by the Department. (Not all prohibited bases will apply to all programs and/or employment activities.) To File an Employment Complaint If you wish to file an employment complaint, you must contact your agency's EEO Counselor (PDF) within 45 days of the date of the alleged discriminatory act, event, or in the case of a personnel action. Additional information can be found online at http://www.ascr.usda.gov/complaint_filing_file.html. To File a Program Complaint If you wish to file a Civil Rights program complaint of discrimination, complete the USDA Program Discrimination Complaint Form (PDF), found online at http://www.ascr.usda.gov/complaint_filing_cust.html, or at any USDA office, or call (866) 632-9992 to request the form.
    [Show full text]
  • Red Hat Decision Manager 7.3 Testing a Decision Service Using Test Scenarios
    Red Hat Decision Manager 7.3 Testing a decision service using test scenarios Last Updated: 2019-10-31 Red Hat Decision Manager 7.3 Testing a decision service using test scenarios Red Hat Customer Content Services [email protected] Legal Notice Copyright © 2019 Red Hat, Inc. The text of and illustrations in this document are licensed by Red Hat under a Creative Commons Attribution–Share Alike 3.0 Unported license ("CC-BY-SA"). An explanation of CC-BY-SA is available at http://creativecommons.org/licenses/by-sa/3.0/ . In accordance with CC-BY-SA, if you distribute this document or an adaptation of it, you must provide the URL for the original version. Red Hat, as the licensor of this document, waives the right to enforce, and agrees not to assert, Section 4d of CC-BY-SA to the fullest extent permitted by applicable law. Red Hat, Red Hat Enterprise Linux, the Shadowman logo, the Red Hat logo, JBoss, OpenShift, Fedora, the Infinity logo, and RHCE are trademarks of Red Hat, Inc., registered in the United States and other countries. Linux ® is the registered trademark of Linus Torvalds in the United States and other countries. Java ® is a registered trademark of Oracle and/or its affiliates. XFS ® is a trademark of Silicon Graphics International Corp. or its subsidiaries in the United States and/or other countries. MySQL ® is a registered trademark of MySQL AB in the United States, the European Union and other countries. Node.js ® is an official trademark of Joyent. Red Hat is not formally related to or endorsed by the official Joyent Node.js open source or commercial project.
    [Show full text]
  • Hide Pdf, Epub, Ebook
    HIDE PDF, EPUB, EBOOK Lisa Gardner | 451 pages | 20 May 2008 | Random House USA Inc | 9780553588088 | English | New York, United States Hide PDF Book What Does 'Eighty-Six' Mean? Universal Music. Watch how it works X. Retrieved December 12, Prior to his death, Hide and Yoshiki talked about restarting X Japan with a new vocalist in the year What Features are included in all plans? Comments on hide What made you want to look up hide? And he scarcely bothered to hide his chief ambition: to lead his country as prime minister. Z in See more words from the same century Thesaurus Entries near hide hidden hidden tax hidden taxes hide hideaway hideaways hidebound. Tim Evans Geraldine Singer Trailers and Videos. Spread Beaver guitarist K. Approximately 50, people who attended his funeral at Tsukiji Hongan-ji on May 7, where 56 people were hospitalized and people received medical treatment in first aid tents due to a mixture of emotional exhaustion and heat, with the funeral taking place on the warmest day of the year at that point, at 27 degrees Celsius about Archived from the original on January 25, Archived from the original on October 25, While they never achieved mainstream success in the United States one of their songs was included on the soundtrack for Heavy Metal Test Your Vocabulary. Main article: Hide discography. Retrieved May 1, He was the lead guitarist of the rock band X Japan from onward, and a solo artist from onward. Main article: X Japan. Retrieved September 12, June 18, He's talked about suicide in his records for five years.
    [Show full text]
  • The “Pop Pacific” Japanese-American Sojourners and the Development of Japanese Popular Music
    The “Pop Pacific” Japanese-American Sojourners and the Development of Japanese Popular Music By Jayson Makoto Chun The year 2013 proved a record-setting year in Japanese popular music. The male idol group Arashi occupied the spot for the top-selling album for the fourth year in a row, matching the record set by female singer Utada Hikaru. Arashi, managed by Johnny & Associates, a talent management agency specializing in male idol groups, also occupied the top spot for artist total sales while seven of the top twenty-five singles (and twenty of the top fifty) that year also came from Johnny & Associates groups (Oricon 2013b).1 With Japan as the world’s second largest music market at US$3.01 billion in sales in 2013, trailing only the United States (RIAJ 2014), this talent management agency has been one of the most profitable in the world. Across several decades, Johnny Hiromu Kitagawa (born 1931), the brains behind this agency, produced more than 232 chart-topping singles from forty acts and 8,419 concerts (between 2010 and 2012), the most by any individual in history, according to Guinness World Records, which presented two awards to Kitagawa in 2010 (Schwartz 2013), and a third award for the most number-one acts (thirty-five) produced by an individual (Guinness World Record News 2012). Beginning with the debut album of his first group, Johnnys in 1964, Kitagawa has presided over a hit-making factory. One should also look at R&B (Rhythm and Blues) singer Utada Hikaru (born 1983), whose record of four number one albums of the year Arashi matched.
    [Show full text]