DOCSLIB.ORG

Il Caso Twitch

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Il Caso Twitch Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Strategie di Comunicazione Classe LM-92 Tesi di Laurea Come la diffusione del live streaming ha cambiato la comunicazione digitale: il caso Twitch Relatore Laureando Prof. Marco Bettiol Lucas Procopio n° matr. 1210218 / LMSGC Anno Accademico 2019 / 2020 1 We turned a “terrible idea” into a Billion Dollar Company Quote By: Justin Kan, Twitch founder 2 Indice Introduzione .................................................................................................................................. 5 Twitch: Come è iniziato tutto? ...................................................................................................... 7 1.1 Chi é Justin Kan? .................................................................................................................. 7 1.2 Il successo di Justin.tv ....................................................................................................... 11 1.3 Espansione di Justin.tv ...................................................................................................... 16 1.4 Criticità di Justin.tv ............................................................................................................ 17 1.5 Modello di Business di Justin.tv ........................................................................................ 20 1.6 Nascita di Twitch e il mondo dei videogiochi .................................................................... 21 1.7 La grande offerta ............................................................................................................... 24 I numeri di Twitch ....................................................................................................................... 25 2.1 I risultati di Twitch ............................................................................................................. 25 2.1.1 L’influenza del Covid-19 sulla piattaforma ................................................................. 34 2.2 Dati demografici ................................................................................................................ 35 2.3 Competitors ...................................................................................................................... 36 2.3.1 Mixer .......................................................................................................................... 37 2.3.2 YouTube ..................................................................................................................... 38 2.3.3 Facebook Gaming ....................................................................................................... 40 2.4 Twitch: posizionamento nel mercato ................................................................................ 41 2.5 Modello di business di Twitch ........................................................................................... 46 Caratteristiche e funzionalità della piattaforma ......................................................................... 49 3.1 Primo approccio con la piattaforma ................................................................................. 50 3.2 Interfaccia utente e struttura della piattaforma ............................................................... 53 3.3 Gli utenti di Twitch ............................................................................................................ 65 3.4 La pubblicità ...................................................................................................................... 66 3.5 Iscrizioni/Abbonamenti ..................................................................................................... 67 3.6 Donazioni e bit .................................................................................................................. 70 3.7 Equipaggiamento per fare live .......................................................................................... 73 3 Twitch per privati, Twitch per le aziende .................................................................................... 76 4.1 Cosa sono le stream e chi sono gli streamer? ................................................................... 76 4.1.1 Come guadagna uno streamer? ..................................................................................... 80 4.1.2 Difficoltà nell’essere uno streamer e nell’emergere .................................................. 83 4.2 Uso della piattaforma da parte di brand, aziende e personaggi noti ................................ 87 4.3 Tipologie di contenuti sulla piattaforma e cambiamento ................................................. 97 4.3.1 Alcune delle nuove categorie ..................................................................................... 99 Cosa rende Twitch così attrattiva ............................................................................................. 104 5.1 Un nuovo medium .......................................................................................................... 104 5.2 Punti forti della piattaforma: quali sono e perché .......................................................... 105 5.3 Alcune criticità della piattaforma .................................................................................... 111 Conclusioni ................................................................................................................................ 114 Sitografia ................................................................................................................................... 115 4 Introduzione Lo spunto sul quale fosse l’argomento che mi sarebbe piaciuto trattare in questa tesi è nato mesi prima della necessità di doverlo scegliere. E’ come se Twitch mi fosse venuto incontro e io sia stato attratto da lui in maniera totalmente naturale. Ripresentandosi nella mia quotidianità giorno dopo giorno più frequentemente. Sono sempre stato attratto dal medium video. Questo mi ha portato negli anni a diventare un grandissimo fruitore della piattaforma per eccellenza di video ondemand cioè YouTube. Piattaforma della quale ho parlato nella mia tesi triennale. Durante la fruizione di video generici su quest’ultima da circa sei mesi prima dell’inizio della stesura di questo elaborato, ho notato sempre più Youtubers famosi che seguo oramai da diversi anni, cominciavano a parlare di Twitch e a postare contenuti creati su questa piattaforma anche YouTube. Sempre più youtubers annunciavano l’apertura di un canale su questa “nuova” piattaforma e a dire al proprio pubblico di seguirli anche su di essa. Gradualmente ho cominciato a vedere nei miei video consigliati di YouTube sempre più montaggi e spezzoni di dirette presi da contenuti trasmessi sulla piattaforma di Amazon. Questo naturalmente mi ha incuriosito e mi ha sia spinto a voler provare ad utilizzare la piattaforma e a comprenderne il suo funzionamento, ma anche a voler capire quale fosse il motivo della transizione dei creatori da una piattaforma all’altra. Una volta compreso il suo utilizzo e quali fossero le sue dinamiche tramite l’uso di essa e una attenta documentazione, ho capito che il mercato del live streaming fosse in fortissima ascesa soprattutto all’estero ma anche e gradualmente in tutti gli altri paesi tra questi anche l’Italia. Fu in quel momento che ho capito che sarebbe stato interessante approfondire ulteriormente le mie conoscenze in materia e scrivere la mia tesi su questo argomento. Il mio intento nella stesura di questo elaborato è stato quello di cercare di spiegare al meglio come funzionasse questa piattaforma, il suo andamento e i suoi sviluppi. A parer mio siamo arrivati al punto in cui la grandezza di Twitch e del mondo del live streaming è tale che una persona che si occupa di comunicazione non può non conoscerla e addirittura non saperla utilizzare. Questa tesi è stata scritta con la finalità di far conoscere a un ipotetico lettore il mondo del live streaming. Nello specifico 5 analizzando il caso Twitch. Spiegando la piattaforma passo dopo passo, partendo dalla storia di essa nel primo Capitolo, passando per la descrizione dei numeri che la piattaforma ha raggiunto negli anni e quali sono i suoi risultati attuali world-wide nel secondo Capitolo, spiegando le varie interfacce e i meccanismi che la governano nel terzo Capitolo, parlando dell’utilizzo che un privato possa farne e quello che ne stanno facendo diverse aziende e brand nel quarto Capitolo, per poi parlare di quali sono i suoi punti di forza e le sue criticità nel quinto Capitolo. 6 Capitolo 1 Twitch: Come è iniziato tutto? Twitch è una delle piattaforme multimediali di streaming video più utilizzate al mondo. Per parlare bene di questo argomento e averne una comprensione approfondita è importante andare a investigarne l’origine, partendo da molto prima della sua creazione. Per farlo è necessario scavare e capire quali sono le sue radici, che hanno dato il via a tutto. Chi ha piantato il seme di quell’idea? Perché lo ha fatto? Come lo ha fatto? Tutti questi passaggi sono essenziali, come lo è anche il conoscere come era il mondo tecnologico prima della sua creazione e la reazione che ha scaturito nel mondo in principio e con il passare degli anni. In questo primo capitolo, parlerò di come questa piattaforma è stata creata partendo da un approfondimento sulla figura più esposta del progetto, Justin Kan, co-creatore della piattaforma. In seguito, mi soffermerò sul successo di essa, sulle
Load more

Recommended publications
  • Identity / Vlog
    Identity Our deeply interconnected social media environment world challenges our understanding of how we fit into the world and demands that we craft and project a personal brand online. We create media, or watch and share it, in order to express and perform our identities and affiliate ourselves with our communities. Affiliative Loop Theater Affiliative videos target micro-audiences by reflecting Working within the constraints of the now-defunct social viewers back to themselves, operating on a level of intimacy video platform Vine, users iterated on a unique kind of and recognition similar to in-jokes. These videos rely on performance that relied on the 6.5-second loop as a defining recognizable phrases and situations, incentivizing viewers to formal element. Fast edits, absurd switches in logic, over-the- share them to their networks to express their own identities. top acting, and nonsensical phrases and situations coined a That affiliative videos cost little to produce allows them to number of memes and found the videos shared far outside target narrowly carved audiences that have not received such their originating platform as Vine compilations. The strange, specialized attention in traditional media. wacky humor was performed for friends and followers on the social network, an expression of self-identity. Shit Girls Say | 1:18 | 2011 | Shit THINGS ONLY TRANS GUYS Girls Say UNDERSTAND | 9:01 | 2016 | Sam Swipe up to scroll through a selection of Vine videos. Shit White Girls Say...to Black Girls | Barnes 2:01 | 2012 | chescaleigh
    [Show full text]
  • Over 3 Million Youtube Creators Globally Receive Some Level Of
    MEDIA FOLLOW THIS Social media entertainment – the kind that has seen huge growth on YouTube and other platforms – needs understanding if there is to be any measured policy response, writes STUART CUNNINGHAM from an Australian perspective ver the past 10 years or so, in the midst of all 1+ million; 2,000+ Australian YouTube channels the cacophony of change we are well familiar earned between $1,000 and $100,000 and more than with, a new creative industry was born. With 100 channels earned more than $100,000. More O my collaborator David Craig, a veteran than 550,000 hours of video were uploaded by Hollywood executive now teaching at the University Australian creators and over 90% of the followers of of Southern California Annenberg School for Australian channels were international. Communication and Journalism, I have been That’s only YouTube, and only the programmatic examining the birth and early childhood of what advertising revenue that can be tracked by Google. we call social media entertainment. It is peopled by A Google-funded study by AlphaBeta2 estimates that cultural leaders, entertainers and activists most of the number of content creators in Australia has whom you may be very unfamiliar with... Here more than doubled over the past 15 years, almost are some of them – Hank Green, Casey Neistat, wholly driven by the entry of 230,000 new creators PewDiePie, Tyler Oakley. of online video content. The same study estimates We understand social media entertainment to be that online video has created a A$6 billion an emerging industry based on previously amateur consumer surplus (the benefit that consumers get creators professionalising and monetising their in excess of what they have paid for that service).
    [Show full text]
  • 'I' of the Front Camera
    The ‘I’ of the Front Camera 1 Navajyoti, International Journal of Multi-Disciplinary Research Volume 3, Issue 2, February 2019 THE ‘I’ OF THE FRONT CAMERA: WHERE EVERYBODY IS AN AUTEUR Chandana Surapaneni Mount Carmel College Abstract: Identity construction in the post digital revolution era has taken a futuristic narrative, where the role of technology in capturing the nuances of daily life has been downplayed by factors such as legitimacy and accountability. One such gradation is the emergence of the idea of Instant sharing through vlog channels. To avoid ambiguities of terms, a vlog is typically an audio visual clip that brings the viewer closer to a certain experience of lifestyle, traveling, clothing, eating, or even daily life that is highly specific to the vlogger’s point of view. This paper aims to highlight the problems in theorising the concept of vlogging as a media object. The author of this paper attempts to highlight the dynamism involved in the field of vlogging and offers a critique of its demystifying nature. The idea of a vlog as a self theorising media object and its role in the conception of the “I” is traced through the understanding of vlogging as a mundanely extraordinary experience with a wide network of sinthomatic expressions that define what is personal and private. This paper questions the applicability of the postmodern notion of “we are all auteurs” and the possibility of experiencing vlogging as a scope providing medium and not as a self-theorising entity. Keywords: Identity, Legitimacy, Digital, Vlogs, Media object, Demystifying, Self Theorising, Mundanely Extraordinary, Personal and Private, Auteurs, Scope Medium.
    [Show full text]
  • An Analysis on Youtube Rewinds
    KADİR HAS UNIVERSITY GRADUATE SCHOOL OF SOCIAL SCIENCES NEW MEDIA DISCIPLINE AREA POPULAR CULTURE REPRESENTATION ON YOUTUBE: AN ANALYSIS ON YOUTUBE REWINDS SİDA DİLARA DENCİ SUPERVISOR: Assoc. Prof. Dr. Çiğdem BOZDAĞ MASTER’S THESIS ISTANBUL, AUGUST, 2017 i POPULAR CULTURE REPRESENTATION ON YOUTUBE: AN ANALYSIS ON YOUTUBE REWINDS SİDA DİLARA DENCİ SUPERVISOR: Assoc. Prof. Dr. Çiğdem BOZDAĞ MASTER’S THESIS Submitted to the Graduate School of Social Sciences of Kadir Has University in partial fulfillment of the requirements for the degree of Master’s in the Discipline Area of New Media under the Program of New Media. ISTANBUL, AUGUST, 2017 i ii iii TABLE OF CONTENTS Abstract Acknowledgements List of Figures List of Chapters 1. Introduction 2. Literature Review 2.1 Commercializing Culprit or Social Cement? What is Popular Culture? 2.2 Sharing is caring: user-generated content 2.3 Video sharing hype: YouTube 3. Research Design 3.1 Research Question 3.2 Research Methodology 4. Research Findings and Analysis 4.1 Technical Details 4.1.1 General Information about the Data 4.1.2 Content Analysis on Youtube Rewind Videos 5. Conclusion References iv ACKNOWLEDGEMENTS I would first and foremost like to thank my thesis advisor Assoc. Prof. Dr. Çiğdem BOZDAĞ of the Faculty of Communication at Kadir Has University. Prof. Bozdağ always believed in me even I wasn’t sure of my capabilities. She kindly guided me through the tunnel of the complexity of writing a thesis. Her guidance gave me strength to keep myself in right the direction. I would like to thank Assoc. Prof. Dr. Eylem YANARDAĞOĞLU whose guidance was also priceless to my studies.
    [Show full text]
  • Casey Neistat: Quits Vlogging, Sells His Company for 25 Million, in 1 Week
    Casey Neistat: Quits vlogging, Sells his company for 25 Million, in 1 week Viewers were shocked a year ago after Casey Neistat (Youtuber) announced quitting daily vlogging – not YouTube – after more than 500 daily vlogs in a row. Casey Neistat’s channel had an increase of 5 million subscribers after starting daily vlogs in March 2014, 18 months later, more than a billion views in total and an average of 1.5 – 2.0 million views per vlog. Neistat, a young filmmaker, had explained in his video (linked below) the reason he quits daily vlogging, “I cannot feel challenged anymore” as Casey said in his video. He started vlogging to challenge himself to create daily content, edit and upload every single day. However, everything did came to an end as Casey has found a “systematic way” to create content, edit, then get more than 1.5 million views per video. Shockingly, youtubers like Philip DeFranco and more were surprised due to the end of such a great YouTube career, views and subscribers for the 33 year old filmmaker. Some saw what he did was crazy while the majority respected his decision. Neistat had people asking: What’s next for Youtubers? Since the release of YouTube in the start of the 21st century and the rise of social media, people started working as Youtubers for a full time job. The pay scale for such a job – if you were accepted as a partner – is around 1-3 $ per 1000 views, which is not bad considering you can earn around 60k monthly if your channel is successful and you vlog daily.
    [Show full text]
  • September 11 & 12, 2019, Cologne
    Conference 1/19 Conference September 11 & 12, 2019, Cologne Organizer Ideational and professional partner, With the special participation owner of the DMEXCO brand of the Circle of Online Marketers (OVK) Conference 2/19 The Meeting Place for the Digital Economy DMEXCO is the meeting place and a community for key players in digital business, marketing, and innovation. We bring together industry leaders, marketing and media professionals, and tech pioneers to set the digital agenda. Both globally informed and locally focused, DMEXCO offers an ecosystem with seminars, debates, and expositions outlining the future of the digital economy and driving market value. At DMEXCO you can learn, get inspired, build connections, and turn your ideas to actions. First tweet of Sir Martin Sorrell live on stage at DMEXCO 2017! It’s the result of a bet made the previous year when Jack Dorsey participated only via streaming: Sir Martin agreed to tweet if Jack would come to DMEXCO in person. Conference 3/19 DMEXCO Facts 2018 41KVisitors from 95 Countries 1KExhibitors from 40 Countries 95Countries + + 250Hour-long Program 550International Speakers 100Ksqm Exhibition Space Conference 4/19 DMEXCO Facts 2018 Visitors Structure: 40%Brands 24%Tech Providers 19%Agencies The Strongest International Visitor Groups – TOP 10: 01 GB / Northern Ireland 06 Switzerland 02 Netherlands 07 Israel 45%Share of International Visitors 03 USA 08 Poland 04 France 09 Spain 05 Austria 10 Italy Conference 5/19 Visitor Profile Who is there The Marketing International New Market Players: & Communication Publishers IoT, VR, AI Industry and Media Owners & Wearables Entrepeneurs The leading 30+ leading Advertising and Start-ups Digital Brands Brands & Innovators All Media, Creative The most relevant Cloud, & Digital Agency Data and Technology Networks Companies Sheryl Sandberg COO, Facebook Conference 6/19 of the DMEXCO visitors have an impact on 84%the purchase of media & technology services.
    [Show full text]
  • Zefrtop100.Pdf
    3 2 Table of Contents 1 Introduction 6 Gaming 2 About 7 Kids & Toys 3 Methodology 8 Spanish Language 4 Category Overview 9 Best All-Around 5 The Digital A-List 3 About The following list is comprised of the top 100 social influencers with the most real-time relevance, based on total 90-day engagements across their YouTube, Facebook, Twitter and Instagram channels and ranked. A straight ranking of 1 to 100 was obscuring much of the talent and trends identified in the process, so this list is comprised of five categories. Each individual category highlights a tremendous area in the Influencer space. 4 The ZEFR 100 *Ranking based on total 90-day engagements across YouTube, Facebook, Twitter and Instagram Digital A-List Gaming Name 90 Day Engagement Name 90 Day Engagement 1. Rhett and Link 164,794,049 1. DanTDM 426,307,659 2. Roman Atwood 161,832,559 2. PopularMMOs 260,707,963 3. Aaron DeBoer 154,463,999 3. WillyRex 191,102,094 4. Rachel Levin 122,472,578 4. jacksepticeye 121,335,386 5. Cameron Dallas 111,651,176 5. Little Kelly Minecraft 112,333,343 6. Huda Heidi Kattan 92,183,149 6. Markiplier 94,239,973 7. The Fine Brothers 90,051,302 7. Aphmau 87,132,458 8. What’s Inside? 88,186,441 Sub-Category: Minecraft 8. Ian Stapleton 77,575,311 9. CrazyRussianHack- 83,958,951 9. Little Carly Minecraft 61,960,319 er 10. LittleLizardGaming - Mi- 56,680,471 10. Superwoman 82,572,733 necraft Mods! 11. Dudeperfect 76,968,170 1.
    [Show full text]
  • S513 Vee-Valentina Vee Adobe Max Presentation
    Quick Tips to Produce Videos that Get Clicks Valentina Vee 20 October 2017 WHO AM I? VALENTINA VEE Content Director OUR GOAL TODAY FIGURE OUT HOW TO MAKE IT EFFICIENTLY AND EFFECTIVELY SHAREABILITY Proven strategies that will give your viewers reasons to share your video with their friends and colleagues. not VIRALITY A magical unicorn concept that’s unpredictable and unrealistic. SPECTRUM OF RESPONSES SHARES COMMENTS LIKES VIEWS WE WILL COVER CONTENT AUDIENCE FORMAT What are you actually making? Who do you want to reach? What formats work on web? Why are you making it? How do you reach those people? How to build your video. PLATFORM THINGS TO NOTE CASE STUDIES What content works on social? How to make the most of your social A look at your videos and what The most up-to-date editing tips. video, regardless of platform. strategies you could improve. QUESTIONS? @valentinavee 7 CONTENT 2 TYPES OF CONTENT EVERGREEN TEMPORAL CONTENT SLIDING SCALE EVERGREEN TEMPORAL MUSIC VIDEO SHORT FILM POLICAL SKETCH TECH HOW-TO DAILY NEWS ITEM CONTENT EVERGREEN 1 2 3 4 5 SCRIPTED MUSIC EDUCATIONAL REFERENTIAL COMMON ISSUE Broad City PSY Veritasium Fine Bros Buzzfeed The Guild Lil Dicky Kurzgesagt Power/Rangers College Humor Royal Crush Macklemore Makeup Tutorials Carpool Karaoke Jenna Marbles FICTION/SCRIPTED JUST LIKE A TV SHOW, HAS THE ABILITY TO BE VIEWED AND ENJOYED MANY YEARS LATER Love At First Sight | ROYAL CRUSH EP 1 AwesomenessTV 7M+ views CONTENT EVERGREEN 1 2 3 4 5 SCRIPTED MUSIC EDUCATIONAL REFERENTIAL COMMON ISSUE Broad City PSY Veritasium Fine Bros Buzzfeed The Guild Lil Dicky Kurzgesagt Power/Rangers College Humor Royal Crush Macklemore Makeup Tutorials Carpool Karaoke Jenna Marbles MUSIC VIDEO IF DONE WELL OR UNIQUELY ENOUGH, ONE VIDEO CAN BREAK AN ARTIST INTO THE CULTURAL CONVERSATION $ave Dat Money feat.
    [Show full text]
  • Unit 5 Testing Guide Unit 5 Testing Guide
    UNIT 5 TESTING GUIDE UNIT 5 TESTING GUIDE TEST 1 Richard _ _ _ _. a) spends most of his time reading the news b) hardly ever plays games online Juliet: I only spend a few hours a week on the Net. c) often goes to a bank to pay the bills I generally read the news online. uses the Internet only for fun Carlos: I check my accounts and pay the bills online. d) Lola: I do research for my project so I am online nearly 2 hours a day. 4. Henry: Internet Safety is very important nowadays. Brenda: I can’t refuse my friends chat requests. We have Sue: _ _ _ _? a large group of online friends. Henry: You should be very careful when you are online. 1. According to the information above, who might be an Sue: _ _ _ _? internet addict? Henry: Certainly. You cannot know who the person on a) Juliet the other side is. b) Carlos Sue: You are right. I never share my password or c) Lola personal information with my online friends. d) Brenda Henry: _ _ _ _? Sue: Playing games, checking my mail, downloading 2. Murphy is a web designer. He works really hard so he music files and commenting on some photos. must check his mail in the mornings. Then, he browses the websites for new ideas. In the afternoons, he often Which of the following DOES NOT complete the continues designing his customer’s websites. He also sends conversation? some text messages about future work.
    [Show full text]
  • CONNECTED (WITH) YOUTH Information Consumption, Trust and Influencers Among Youth in Slovakia 02 CONNECTED (WITH) YOUTH CONNECTED (WITH) YOUTH 03
    Strategic Communication Programme CONNECTED (WITH) YOUTH Information consumption, trust and influencers among youth in Slovakia 02 CONNECTED (WITH) YOUTH CONNECTED (WITH) YOUTH 03 AUTHORS CONTENT ⊲ Dominika Hajdu Research Fellow GLOBSEC Methodology 04 ⊲ Iveta Kupková Project Coordinator Why youth? 05 GLOBSEC Key findings 06 Sources of information 08 GLOBSEC and the US Embassy assume no Facebook 12 responsibility for facts or opinions expressed in this publication or their subsequent use. Instagram 14 Sole responsibility lies with the authors. Youtube 16 Financially supported by the U.S. Embassy Impact, trust and influencers 18 in Slovakia. © GLOBSEC GLOBSEC, Bratislava, Slovakia November 2018 04 CONNECTED (WITH) YOUTH CONNECTED (WITH) YOUTH 05 METHODOLOGY WHY YOUTH? This report is a product of the research conducted under the project “Targeting Youth: Countering Blurred boundaries between the online and offline world in information consumption and day-to-day disinformation by data and role models”, financially supported by the US Embassy in Slovakia. The aim communication have changed the patterns of our societies’ behaviour. While every generation is marked of this report is to provide a unique insight into online social behaviour and information consumption of by societal, political and technological developments of their decades, today’s youth is the first generation young Slovaks while identifying role models they respect and trust. already growing up on social media with mobile phones in their hands. The outcomes and findings of this report are based on an online questionnaire carried out between Information overflow, spread of disinformation and consequential distrust are not just a few buzz terms 23 April and 30 May 2018, and on focus group discussions conducted in April 2018 with young people that dominate current debates but constitute key phenomena affecting: in Slovakia.
    [Show full text]
  • This Thesis Has Been Approved by the Honors
    This thesis has been approved by The Honors Tutorial College and the Department of Business Administration ______________________________ Professor Daniel R. Dahlen Professor, Marketing Thesis Adviser ________________________________ Dr. Raymond Frost Director of Studies, Business Administration ________________________________ Dr. Cary Roberts Frith Dean, Honors Tutorial College 1 #Ad: How YouTube Went From “Broadcast Yourself” to Broadcast Brands and Why It Matters ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Business Administration ______________________________________ by Allyson Lagiovane May 2018 2 Acknowledgements First, I would like to thank my thesis advisor, Professor Dan Dahlen. Not only has he been an invaluable resource in support of this project, he has been a great mentor to me throughout these past two years of working together. I could not be more thankful for the guidance and encouragement he has given me, both academically and professionally. A special thank you to those that participated in the in-depth interviews portion of my research, including Chris Ferrel, Bo Reisinger, Danny Veech, Cheryl Harrison, Nina Bressau, and Tracey McCormack. Thank you for taking the time out of your busy schedules to speak with me and share your insight. As well, thank you to those students that participated in the online survey and contributed to my research. This research wouldn’t have been possible without your support. I could not be more thankful for the Honors Tutorial College and the opportunities that they have provided to me throughout my undergraduate career.
    [Show full text]
  • Recovery Is Possible
    JALAPEÑO WARS Omnivore, vegetarian debate Tex-Mex options ARTS | 7 OPINION SPRING BREAKERS SPORTS LEADING THE CHARGE 6 It’s about more than 9 Ky Parrott fills leadoff spot partying for JMU Baseball Vol. 95, No. 22 Thursday, February 23, 2017 breezejmu.org Postelection postcards College Democrats, Bare Naked Ladies host postcard campaign to reach out to elected officials By YASMINE MAGGIO people an opportunity to get involved in ways they The Breeze might not otherwise.” The campaign is broken up into five, two-week Postcards may be used to write home from far away mini-campaigns. The plan for action involves writing places, but for the politically motivated it’s a means to Goodlatte and various media outlets — such as the of taking action. Daily News-Record and The Breeze, who published an Inspired by the Women’s March campaign, JMU article last Thursday — criticizing Goodlatte’s voting College Democrats and Bare Naked Ladies, a group record and urging students to vote. The campaign will of students dedicated to promoting positive body end with the Virginia Young Democrats Convention image and self-love, recently created a 10-week at JMU on March 17, and a city council forum in ALEXIS MILLER / THE BREEZE action campaign to kick off the new semester, and the Harrisonburg. The postcard writing campaign is the first step in a 10–week plan dedicated to giving students an active voice. new administration. Their first order of business: a Patrick Stott, a senior political science major postcard writing campaign for students to voice their and chairman of the JMU College Republicans, Democrats have no bench because of this.” but a lot of the things we talk about go hand-in-hand concerns to Rep.
    [Show full text]