The BG News January 21, 1999
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Grand Staircase-Escalante National Monument Antiquates the Antiquities Act
The Straw that Broke the Camel's Back? Grand Staircase-Escalante National Monument Antiquates the Antiquities Act ERIC C. RUSNAK* The public lands of the United States have always provided the arena in which we Americans have struggled to fulfill our dreams. Even today dreams of wealth, adventure, and escape are still being acted out on these far flung lands. These lands and the dreams-fulfilled and unfulfilled-which they foster are a part of our national destiny. They belong to all Americans. 1 I. INTRODUCTION For some Americans, public lands are majestic territories for exploration, recreation, preservation, or study. Others depend on public lands as a source of income and livelihood. And while a number of Americans lack awareness regarding the opportunities to explore their public lands, all Americans attain benefits from these common properties. Public land affect all Americans. Because of the importance of these lands, heated debates inevitably arise regarding their use or nonuse. The United States Constitution grants to Congress the "[p]ower to dispose of and make all needful Rules and Regulations respecting the... Property belonging to the United States." 2 Accordingly, Congress, the body representing the populace, determines the various uses of our public lands. While the Constitution purportedly bestows upon Congress sole discretion to manage public lands, the congressionally-enacted Antiquities Act conveys some of this power to the president, effectively giving rise to a concurrent power with Congress to govern public lands. On September 18, 1996, President William Jefferson Clinton issued Proclamation 69203 under the expansive powers granted to the president by the Antiquities Act4 ("the Act") establishing, in the State of Utah, the Grand * B.A., Wittenberg University, 2000; J.D., The Ohio State University Moritz College of Law, 2003 (expected). -
Himmlischer Crash
Kultur Up“, dem Hit der britischen Tanzkrawall- nicht sehr weit kommt, übersiedelte das POP band The Prodigy, ist gar als rüde Sex- Quintett nach Malmö, in die drittgrößte Attacke berüchtigt. Stadt Schwedens. Himmlischer Für „My Favourite Game“ läßt Aker- Zu ihrem eigenen Erstaunen bekamen lund nun Nina Persson in einem offenen sie einen Plattenvertrag und stießen auch Cadillac als Rock-Schlampe durch die Mo- außerhalb Schwedens auf begeisterte Crash jave-Wüste fahren, auf dem Oberarm trägt Zuhörer. Perssons Kleinmädchen-Geträl- sie eine eklige Riesentätowierung und im ler zu luftiger Gute-Laune-Musik schaffte Netter Träller-Pop bescherte der Blick die schiere Mordlust. Jeden, der ihr es in halb Europa in die Hitparaden. Das in die Quere kommt, räumt sie brutal aus zweite Cardigans-Album „Life“ galt bald schwedischen Band The Cardigans dem Weg. Schließlich kracht sie in einen als Schlüsselwerk des sogenannten Easy-Li- einen Welterfolg – nun ver- Kleinbus, in dem die Rest-Cardigans sit- stening-Revivals: Im Zeichen der Ironie blüfft das Quintett mit wunderbar zen; der Aufprall schleudert die Schweden- entdeckte die Jugend der Welt die Fahr- schwermütigen Liebesliedern. Barbie in die Luft, blutüberströmt knallt sie stuhlmusik der sechziger Jahre neu. Dann auf den Asphalt. folgte der Superhit „Lovefool“ mit dem n ein paar Millionen Platten allein „Einen himmlischen Spaß“ nennt Nina millionenfach nachgesummten Refrain ist Erfolg in der bunten Welt der Persson diesen Schockerfilm. Der Musik- „Love me, love me, say that you love me“ APopmusik längst nicht mehr zu sender MTV allerdings nahm das 600000 – und machte die Cardigans endgültig zum messen. Zumindest in Japan gilt heute erst Mark teure Werk nur in einer zusammen- Inbegriff der Leichtigkeit des Seins. -
Working the Math and the Magic
Bob Pittman WORKING THE MATH AND THE MAGIC rom his days of programming the nation’s #1 radio station in his early 20s to reinventing the nation’s #1 broadcasting company into today’s premier media company, Bob Pittman has had a spectacular career,” says Republic chieftain Monte Lipman. “Bob’s motivation and fearless- ness to always sail into uncharted waters is unprecedented.” Monte makes a valid point—and that includes piloting his jet to the Burning Man festival every year. From his wunderkind days holding court at the NBC commissary to his current reign atop iHeartMedia, the Mississippi native has always been zooming forward. Name a game-changing media moment during the last 35 years, and chances are Bob Pittman’s fingerprints were all over it. After getting his start in radio, he moved to television as a founder of MTV, which became the first profitable cable network as well as reenergizing the record business. Pittman was on hand when Warner Bros. merged with Time Inc., and after serving as CEO of Six Flags and Century 21, he became COO of AOL and held the same post following the 2000 mega- Fmerger that created AOL Tim Warner. Since 2010, Pittman has become “ 143 ever more deeply involved with iHeart- national cable networks, I’ve been an the iHeartRadio Fest in 2011. Radio Media, which bore the Clear Channel advertiser,” Pittman told CNN in 2013. Ink magazine named him the Most nameplate when he arrived. His duties as “[Late Time Warner boss] Steve Ross Powerful Man in Radio in 2011; he has Chairman/CEO have notably included taught me to take chances—don’t ever yet to relinquish the title. -
The Operational Aesthetic in the Performance of Professional Wrestling William P
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 The operational aesthetic in the performance of professional wrestling William P. Lipscomb III Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Communication Commons Recommended Citation Lipscomb III, William P., "The operational aesthetic in the performance of professional wrestling" (2005). LSU Doctoral Dissertations. 3825. https://digitalcommons.lsu.edu/gradschool_dissertations/3825 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE OPERATIONAL AESTHETIC IN THE PERFORMANCE OF PROFESSIONAL WRESTLING A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Communication Studies by William P. Lipscomb III B.S., University of Southern Mississippi, 1990 B.S., University of Southern Mississippi, 1991 M.S., University of Southern Mississippi, 1993 May 2005 ©Copyright 2005 William P. Lipscomb III All rights reserved ii ACKNOWLEDGMENTS I am so thankful for the love and support of my entire family, especially my mom and dad. Both my parents were gifted educators, and without their wisdom, guidance, and encouragement none of this would have been possible. Special thanks to my brother John for all the positive vibes, and to Joy who was there for me during some very dark days. -
I Want My MTV”: Music Video and the Transformation of the Sights, Sounds and Business of Popular Music
General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number Music History 98T Course Title “I Want My MTV”: Music Video and the Transformation of The Sights, Sounds and Business of Popular Music 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice X Foundations of Society and Culture • Historical Analysis X • Social Analysis X Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. This seminar will trace the historical ‘phenomenon” known as MTV (Music Television) from its premiere in 1981 to its move away from the music video in the late 1990s. The goal of this course is to analyze the critical relationships between music and image in representative videos that premiered on MTV, and to interpret them within a ‘postmodern’ historical and cultural context. 3. "List faculty member(s) who will serve as instructor (give academic rank): Joanna Love-Tulloch, teaching fellow; Dr. Robert Fink, faculty mentor 4. Indicate when do you anticipate teaching this course over the next three years: 2010-2011 Winter Spring X Enrollment Enrollment 5. GE Course Units 5 Proposed Number of Units: Page 1 of 3 6. Please present concise arguments for the GE principles applicable to this course. -
The Example of Swedish Independent Music Fandom by Nancy K
First Monday Online groups are taking new forms as participants spread themselves amongst multiple Internet and offline platforms. The multinational online community of Swedish independent music fans exemplifies this trend. This participant–observation analysis of this fandom shows how sites are interlinked at multiple levels, and identifies several implications for theorists, researchers, developers, industry and independent professionals, and participants. Contents Introduction Fandom Swedish popular music The Swedish indie music fan community Discussion Conclusion Introduction The rise of social network sites is often taken to exemplify a shift from the interest–based online communities of the Web’s “first” incarnation to a new “Web 2.0” in which individuals are the basic unit, rather than communities. In a recent First Monday article, for instance, boyd (2006) states, “egocentric networks replace groups.” I argue that online groups have not been “replaced.” Even as their members build personal profiles and egocentric networks on MySpace, Facebook, BlackPlanet, Orkut, Bebo, and countless other emerging social network sites, online groups continue to thrive on Web boards, in multiplayer online games, and even on the all–but–forgotten Usenet. However, online communities are also taking a new form somewhere between the site-based online group and the egocentric network, distributing themselves throughout a variety of sites in a quasi–coherent networked fashion. This new form of distributed community poses particular problems for its members, developers, and analysts. This paper, based on over two years of participant–observation, describes this new shape of online community through a close look at the multinational online community of fans of independent rock music from Sweden. -
Karaoke Songs by Title
Songs by Title Title Artist Title Artist #9 Dream Lennon, John 1985 Bowling For Soup (Day Oh) The Banana Belefonte, Harry 1994 Aldean, Jason Boat Song 1999 Prince (I Would Do) Anything Meat Loaf 19th Nervous Rolling Stones, The For Love Breakdown (Kissed You) Gloriana 2 Become 1 Jewel Goodnight 2 Become 1 Spice Girls (Meet) The Flintstones B52's, The 2 Become 1 Spice Girls, The (Reach Up For The) Duran Duran 2 Faced Louise Sunrise 2 For The Show Trooper (Sitting On The) Dock Redding, Otis 2 Hearts Minogue, Kylie Of The Bay 2 In The Morning New Kids On The (There's Gotta Be) Orrico, Stacie Block More To Life 2 Step Dj Unk (Your Love Has Lifted Shelton, Ricky Van Me) Higher And 20 Good Reasons Thirsty Merc Higher 2001 Space Odyssey Presley, Elvis 03 Bonnie & Clyde Jay-Z & Beyonce 21 Questions 50 Cent & Nate Dogg 03 Bonnie And Clyde Jay-Z & Beyonce 24 Jem (M-F Mix) 24 7 Edmonds, Kevon 1 Thing Amerie 24 Hours At A Time Tucker, Marshall, 1, 2, 3, 4 (I Love You) Plain White T's Band 1,000 Faces Montana, Randy 24's Richgirl & Bun B 10,000 Promises Backstreet Boys 25 Miles Starr, Edwin 100 Years Five For Fighting 25 Or 6 To 4 Chicago 100% Pure Love Crystal Waters 26 Cents Wilkinsons, The 10th Ave Freeze Out Springsteen, Bruce 26 Miles Four Preps, The 123 Estefan, Gloria 3 Spears, Britney 1-2-3 Berry, Len 3 Dressed Up As A 9 Trooper 1-2-3 Estefan, Gloria 3 Libras Perfect Circle, A 1234 Feist 300 Am Matchbox 20 1251 Strokes, The 37 Stitches Drowning Pool 13 Is Uninvited Morissette, Alanis 4 Minutes Avant 15 Minutes Atkins, Rodney 4 Minutes Madonna & Justin 15 Minutes Of Shame Cook, Kristy Lee Timberlake 16 @ War Karina 4 Minutes Madonna & Justin Timberlake & 16th Avenue Dalton, Lacy J. -
Basketball and Philosophy, Edited by Jerry L
BASKE TBALL AND PHILOSOPHY The Philosophy of Popular Culture The books published in the Philosophy of Popular Culture series will il- luminate and explore philosophical themes and ideas that occur in popu- lar culture. The goal of this series is to demonstrate how philosophical inquiry has been reinvigorated by increased scholarly interest in the inter- section of popular culture and philosophy, as well as to explore through philosophical analysis beloved modes of entertainment, such as movies, TV shows, and music. Philosophical concepts will be made accessible to the general reader through examples in popular culture. This series seeks to publish both established and emerging scholars who will engage a major area of popular culture for philosophical interpretation and exam- ine the philosophical underpinnings of its themes. Eschewing ephemeral trends of philosophical and cultural theory, authors will establish and elaborate on connections between traditional philosophical ideas from important thinkers and the ever-expanding world of popular culture. Series Editor Mark T. Conard, Marymount Manhattan College, NY Books in the Series The Philosophy of Stanley Kubrick, edited by Jerold J. Abrams The Philosophy of Martin Scorsese, edited by Mark T. Conard The Philosophy of Neo-Noir, edited by Mark T. Conard Basketball and Philosophy, edited by Jerry L. Walls and Gregory Bassham BASKETBALL AND PHILOSOPHY THINKING OUTSIDE THE PAINT EDITED BY JERRY L. WALLS AND GREGORY BASSHAM WITH A FOREWORD BY DICK VITALE THE UNIVERSITY PRESS OF KENTUCKY Publication -
PA Tool Instructions
STATE OF HAWAII Personal Assistance Tool Instructions The State recommends that this tool be formatted in Excel for calculation functionality. 1. Member Name- Enter member’s legal name (Last, First, Middle Initial). If member has no middle initial, leave blank. 2. Degree of Assistance- The assessor will determine the member’s degree of assistance. a. Independent- No assistance, set up, or supervision. b. Minimal- Able to complete some tasks with assistance, includes oversight, encouragement or cueing, or supervision c. Moderate- Able to complete some of task but need assistance with most of task d. Total- Unable to complete tasks on own or needs assistance to complete the task 3. Suggested Times (Minutes) - The assessor will enter the minutes based on the Degree of Assistance. Refer to Table 1. Personal Assistance Guidelines for allocating hours. If the minutes exceed the maximum suggested minutes, please document reason in the Justification for Allocation of Hours. Table 1. Personal Assistance Guidelines TASKS Degree of Assistance Personal Assistance Level 1 Routine House Cleaning Minimum Lives alone: Up to 120 minutes per week • Dusting • Cleaning up after personal care tasks (bathing, toileting, meal Lives with family or friends: Up to 60 minutes per week preparation, etc.) Moderate Lives alone: Up to 180 minutes per week • Cleaning floors in living areas used by member • Cleaning counters, stovetop, washing dishes Lives with family or friends: Up to 120 minutes per • Carrying out trash and setting out garbage for pickup week • Emptying -
Record Collector Magazine
The Year of the HOBSE hat Mark Linkous of priated lyrical inspiration from south Waits, Grandaddy and Mercury Rev, Sparklehorse once briefly Virginian novelists, Ohio-born cinematog- Sparklehorse cut through their off-kilter died is probably the least raphers and film-makers, l6th Century music with almost perverse experimenta- interesting thing about him. English dramatists, esoteric American tion. They are as likely to create vigorous, In 1997, the American musician troubadors, a French poet and music critic feedback-enfettered rock songs as they collapsed in the en suite bathroom of and a deadpan American songlrrriter. He's are drowsy instrumentals; as likely to a London hotel with his legs pinned also sung about: pigs, horses, butchered forge fragile, debilitated ballads as beneath him for 14 hours. He was cows, "painbirds" and "pianobirds", esoteric, sample-heavy interludes. eventually found by a maid and rabbits, spiders, insects, leeches, hum- For the most part, this music is taken to St. Mary's Hospital, where, mingbirds, "hundreds of sparrows", poignant, melancholic and touching. On for two minutes, his heart stopped wolves, crows, snails, dogs, tigers and their first album, Viuadixiesubmarine- beating. It reads like a meta "more yellow birds". transmissionplot, Linkous even sang rock'n'roll story for a man who like Mark Linkous and his more or less about rescuing an iniured hawk: "I chased kindred spirits Grandaddy - anon)"rnous -has co-conspirators crush guitars, him round, tried to pick him up." Linkous tried to circumvent rock'n'roll clich6. tape loops, organs and frequently distort- has explained, "but he kept biting Nearly dying isn't cool. -
Karaoke Book
10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO. -
Country Update
Country Update BILLBOARD.COM/NEWSLETTERS MARCH 1, 2021 | PAGE 1 OF 18 INSIDE BILLBOARD COUNTRY UPDATE [email protected] What’s Up With Strait Talk With Songwriter Dean Dillon Bryan’s ‘Down’ >page 4 As He Awaits His Hall Of Fame Induction Academy Of Country Life-changing moments are not always obvious at the time minutes,” says Dillon. “I was in shock. My life is racing through Music Awards they occur. my mind, you know? And finally, I said something stupid, like, Raise Diversity So it’s easy to understand how songwriter Dean Dillon (“Ten- ‘Well, I’ve given my life to country music.’ She goes, ‘Well, we >page 10 nessee Whiskey,” “The Chair”) missed the 40th anniversary know you have, and we’re just proud to tell you that you’re going of a turning point in his career in February. He and songwriter to be inducted next fall.’ ” Frank Dycus (“I Don’t Need Your Rockin’ Chair,” “Marina Del The pandemic screwed up those plans. Dillon couldn’t even Rey”) were sitting on the front porch at Dycus’ share his good fortune until August — “I was tired FGL, Lambert, Clark home/office on Music Row when producer Blake of keeping that a secret,” he says — and he’s still Get Musical Help Mevis (Keith Whitley, Vern Gosdin) pulled over waiting, likely until this fall, to enter the hall >page 11 at the curb and asked if they had any material. along with Marty Stuart and Hank Williams Jr. He was about to record a new kid and needed Joining with Bocephus is apropos: Dillon used some songs.