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MISSION: Serve as Marvel Studios sole music solution and sonic curator for the studio as a brand, major films, including soundtrack services, as well as other products. Format has worked with Marvel since 2000. ACHIEVEMENTS: Worked with filmmakers to help define the sound of Guardians of the Galaxy by using 1970s songs based on the main character's use of walkman and a mix tape his mother gave him, which thematically serves as a love letter to her son. The #1 album in the US for 3 weeks, recently triple platinum certified and grammy nominated. Film grossed over $800 million Worldwide. The soundtrack rediscovered songs for younger generations of music fans landing 5 spots on the Spotify Viral 50 playlist, alongside other songs popular in the youth market. The soundtrack was landmark and record breaking - the first ever to reach #1 composed entirely of pre-existing music. "Come and Get Your Love" - Guardians of The Galaxy Sourcing and connecting high level musical talent to all Marvel franchises; e.g., AC/DC for Iron Man. Iron Man 2 soundtrack reached #1 in 18 countries; first time ever that AC/DC contributed all of the music for a soundtrack, including original Bon Scott recordings. AC/DC’s use of “Back in Black” in Iron Man exposed them to an entirely new generation of fans. "Shoot to Thrill" - Iron Man Identified composer and worked to develop timeless sonic logo for Marvel Studios incorporating nearly 70 years of Marvel’s comic book history. Marvel Logo Actively advise Marvel Studios on all music choices for their marketing materials, including film trailers, TV spots and Comic Con events. Identify and create a musical identity for each character in the Marvel Cinematic Universe. Marvel is unique in that every film interconnects on some level, and musical identity is critical and must be conceptualized well in advance. Numerous Platinum & Multi-Platinum Soundtracks: .

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Tax and AC/DC
Tax and AC/DC Kim G C Moody FCPA, FCA, TEP September 21, 2015 Those of you who know me well will know that my first career choice was to be a music teacher. I studied and played music classically well into my teens. When I realized that my talents would likely not provide me a stable living, I switched gears and became a Chartered Accountant. I still love music – all types of music with a few exceptions – but I have a soft spot for classic rock which is often playing in my office. One of my all time favorite bands is AC/DC. Their straight-ahead blues rock with very simple (almost comical) lyrics is exactly what I like to listen to when I need to turn my brain off (which doesn’t happen very often). Accordingly, I couldn’t pass up the opportunity to attend AC/DC’s concert in Edmonton on September 20, 2015. It was a cold and wet night, but that didn’t dampen the spirit of the crowd. Classic rock concerts and tax go together like wine and cheese. The last time that AC/DC was on tour in Canada was 2009 and I attended their concert in Vancouver. I wrote a blog about tax and AC/DC back then and I’m continuing that tradition here. So what was I thinking about while listening? Well, here was their set list and each song inspired a different thought about tax: 1. Rock or Bust – This is AC/DC’s lead single from their latest album.
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SHOOT to THRILL As Recorded by AC/DC (From the 1980 Album "Back in Black")
SHOOT TO THRILL As recorded by AC/DC (from the 1980 Album "Back in Black") Transcribed by Mike Sheehan Words by Malcolm & Angus Young, Brian Johnson Music by Brian Johnson, Malcolm & Angus Young A5A5 G5G5 DD55//AA A A C5C5 GG55IIIIII D5D5 AA55VV EE7799 xo xx xoo xoo x xo x x xx 3fr. xxx 3fr. x xx 5fr. xxx 5fr. o bb x 6fr. XIIXII V V III III DD/A/A AA/E/E 14fr. G G 15fr. DD55 12fr. AA 5fr. GG 3fr. xoo xx x xx x xx x xx x xx x A Intro P = 141 A5 C A A5 C A 1 g 4 2 4 I 4 V V V 4 W 4 U U W V V V V V gV V W U U W V V gV V Gtr I T 2 2 2 2 2 2 A 2 2 2 2 2 2 2 2 2 2 B 0 3 4 0 0 0 0 0 0 3 4 0 G5 D5/A G5 D5/A Asus4 A5 G5 D5/A G5 D5/A Asus4 A5 6 I U U U W V V V U U U W V V gV V Gtr I T 2 2 2 2 2 A 2 2 2 2 2 2 2 B 0 0 0 0 0 3 4 0 V V V V V V V V V V k V V V V V V k I V V V V V V V V V V V V V} V V V V V V} V V V V V V gV V V} V V V V V V} V V V V V V gV V Gtr II P.M.
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Iron Man 3 Notes
ADVANCE rom Marvel Studios comes “Iron Man 3,” which continues the epic, big-screen adventures of the world’s favorite billionaire-inventor-Super Hero, Tony Stark aka FIron Man. Marvel’s “Iron Man 3” pits brash-but-brilliant industrialist Tony Stark/Iron Man against an enemy whose reach knows no bounds. When Stark finds his personal world destroyed at his enemy’s hands, he embarks on a harrowing quest to find those responsible. This journey, at every turn, will test his mettle. With his back against the wall, Stark is left to survive by his own devices, relying on his ingenuity and instincts to protect those closest to him. As he fights his way back, Stark discovers the answer to the question that has secretly haunted him: does the man make the suit or does the suit make the man? Based on the ever-popular Marvel comic book Super Hero Iron Man, who first appeared on the pages of “Tales of Suspense” (#39) in 1963 and had his solo comic book debut with “The Invincible Iron Man” (#1) in May of 1968, “Iron Man 3” returns Robert Downey Jr. (“Sherlock Holmes: A Game of Shadows,” “Tropic Thunder”) as Tony Stark, the iconic Super Hero, along with Gwyneth Paltrow (“Thanks for Sharing,” “Contagion”) as Pepper Potts, Don Cheadle (“Flight,” “Hotel Rwanda”) as James “Rhodey” Rhodes, Guy Pearce (“The Hurt Locker,” “Memento”) as Aldrich Killian, Rebecca Hall (“The Prestige,” “The Town,”) as Maya Hansen, Jon Favreau ( “Identity Thief,” “People Like Us”) as Happy Hogan and Ben Kingsley (“Schindler’s List,” “Gandhi,”) as The Mandarin.
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On the Efficiency of Ac/Dc: Bon Scott Versus Brian Johnson
ON THE EFFICIENCY OF AC/DC: BON SCOTT VERSUS BRIAN JOHNSON ROBERT J. OXOBY* We use tools from experimental economics to address the age-old debate regarding who was a better singer in the band AC/DC. Our results suggest that (using wealth maximization as a measure of ‘‘better’’) listening to Brian Johnson (relative to listening to Bon Scott) resulted in ‘‘better’’ outcomes in an ultimatum game. These results may have important implications for settling drunken music debates and environmental design issues in organizations. (JEL C7, C9, D6, Z1) I. INTRODUCTION there exists a common debate. That is, with respect to the rock band AC/DC, who is the The band AC/DC is considered one of the better vocalist: Bon Scott or Brian Johnson? most influential hard rock bands, often com- The band’s original vocalist, Scott, performed pared to Led Zeppelin and Black Sabbath in on seven of the band’s albums (excluding influencing many subsequent hard rock and live albums and compilations) before dying in heavy metal bands. Indeed Christie (2003) 1980. Brian Johnson joined the band in 1980, argues that AC/DC was a ‘‘key common de- serving as vocalist on nine albums (excluding nominator’’ in the new wave of heavy metal emerging from Britain in the 1970s and influ- live albums and compilations). Since 1980, therehasbeennearconstantcontentionregard- encing all genres of rock & roll through the ing who was the better singer.1 1980s and 1990s. The band was formed in 1973 by Angus and Malcolm Young, who took In this paper, we explore this issue. Since it is difficult to ascertain which vocalist was bet- the band’s moniker from the back of their sis- ter given the heterogeneity of musical tastes, ter’s sewing machine.
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Wealth, Power, American Dream, Iron Man 1
Running head: WEALTH, POWER, AMERICAN DREAM, IRON MAN 1 Wealth, Power, American Dream, Iron Man Jenny Schlender University of Wisconsin Superior WEALTH, POWER, AMERICAN DREAM, IRON MAN 2 ABSTRACT The darkened theatre is where our imaginations come to life, a place we all go to escape. American audiences have sought out movies since the beginning of the twentieth century. The superhero emerged first in comic books, and later transferred to film. While conforming to genre norms, the Iron Man films convey meanings and beliefs of dominant culture. These values established in Iron Man offer a view of class, gender, sex, and race. These values are viewed and explained through the lens of contemporary capitalism. WEALTH, POWER, AMERICAN DREAM, IRON MAN 3 Heroes are not born. They are built. (Favreau, Iron Man, 2008) Purpose The purpose of this research is to analyze two popular box office hits, Iron Man I and Iron Man II, laying bare the cultural themes and ideology prevalent in these Hollywood superhero films. The goal is to explore the values established in the film medium allowing for a better understanding of each of the films. The creation of film is a collaboration of artistic vision and incorporation of cultural norms providing within the film texts the story which often mirrors actual cultural practices. These mirrored practices can provide a venue for communication that would help discern cultural beliefs and ideals. Movies not only provide a narrative for specific discourses of race, gender, sex, and class, but they also provide a shared experience, a common staring point from which diverse audiences can dialogue about these charged issues (hooks, 1996).
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"I Am Iron Man": Priming Improves the Learnability and Memorability Of
“I Am Iron Man” Priming Improves the Learnability and Memorability of User-Elicited Gestures Abdullah X. Ali The Information School | DUB Group, University of Washington, Seattle, WA, USA, [email protected] Meredith Ringel Morris Microsoft Research, Redmond, WA, USA, [email protected] Jacob O. Wobbrock The Information School | DUB Group, University of Washington, Seattle, WA, USA, [email protected] ABSTRACT Priming is used as a way of increasing the diversity of proposals in end-user elicitation studies, but priming has not been investigated thoroughly in this context. We conduct a distributed end-user elicitation study with 167 participants, which had three priming groups: a no- priming control group, sci-fi priming, and a creative mindset group. We evaluated the gestures proposed by these groups in a distributed learnability and memorability study with 18 participants. We found that the user-elicited gestures from the sci-fi group were significantly faster to learn, requiring an average of 1.22 viewings to learn compared to 1.60 viewings required to learn the control gestures, and 1.56 viewings to learn the gestures elicited from the creative mindset group. In addition, both primed gesture groups had higher memorability with 80% of the sci-fi-primed gestures and 73% of the creative mindset group gestures were recalled correctly after one week without practice compared to 43% of the control group gestures. CCS CONCEPTS • Human-centered computing → HCI design and evaluation methods. KEYWORDS Distributed Interaction Design; end-user elicitation study; end-user identification; learnability; memorability; crowdsourcing; Mechanical Turk. 1 Introduction Including end-users in the design stage of interactive systems is a common practice in human-computer interaction (HCI).
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PRESS Graphic Designer
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Loki Production Brief
PRODUCTION BRIEF “I am Loki, and I am burdened with glorious purpose.” —Loki arvel Studios’ “Loki,” an original live-action series created exclusively for Disney+, features the mercurial God of Mischief as he steps out of his brother’s shadow. The series, described as a crime-thriller meets epic-adventure, takes place after the events Mof “Avengers: Endgame.” “‘Loki’ is intriguingly different with a bold creative swing,” says Kevin Feige, President, Marvel Studios and Chief Creative Officer, Marvel. “This series breaks new ground for the Marvel Cinematic Universe before it, and lays the groundwork for things to come.” The starting point of the series is the moment in “Avengers: Endgame” when the 2012 Loki takes the Tesseract—from there Loki lands in the hands of the Time Variance Authority (TVA), which is outside of the timeline, concurrent to the current day Marvel Cinematic Universe. In his cross-timeline journey, Loki finds himself a fish out of water as he tries to navigate—and manipulate—his way through the bureaucratic nightmare that is the Time Variance Authority and its by-the-numbers mentality. This is Loki as you have never seen him. Stripped of his self- proclaimed majesty but with his ego still intact, Loki faces consequences he never thought could happen to such a supreme being as himself. In that, there is a lot of humor as he is taken down a few pegs and struggles to find his footing in the unforgiving bureaucracy of the Time Variance Authority. As the series progresses, we see different sides of Loki as he is drawn into helping to solve a serious crime with an agent 1 of the TVA, Mobius, who needs his “unique Loki perspective” to locate the culprits and mend the timeline.
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Got Beer? a Beer with Balls
Got Beer? A Beer with Balls (Warning: The normal moratorium on puns is being lifted for this column. Reader discretion is advised.) One of the rarest pleasures in life is finding some music that just perfectly fits the moment you’re going for. Romantic music for that special candlelit night, some nice slow jazzy music for a hot summer afternoon, and then there’s the music that’s just perfect for joyously and handily beating the living snot out of an imbecilic bunghole with an unwed mother. For that particularly rare night out, I would prefer the dulcet tones of AC/DC. There’s just no better music to stride into a bar, go right up to some lowlife you don’t like and slug him in the nads for a giggle. So, of course, when I saw the 24 oz. can of AC/DC beer, I thought “Well Hell’s Bells, I can’t pass this Brain Shake up.” And yes, it’s going to be one of those columns. AC/DC doesn’t hold back, so why should I? Now strap in, because I’m gonna Shoot to Thrill. According to the can, this is called Rock or Bust, and it’s brewed by Karlsberg Brauerei in Germany. Well, I’ll give them credit for going with an actually established brewery. You might recognize them as the brewers behind Karlsberg Lager and Urpils, so we know we’ll get something that’s at least recognizable as a genuine German style beer and not just a watery lager. Right? I mean, it says it’s brewed in accordance with the purity law, so at least we can be assured we’ll be spared any rice or corn adjuncts.
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The Pennsylvania State University Schreyer Honors College
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC MARVEL SUPERHERO FILM: THE USE OF MUSIC AND SOUND DESIGN IN NARRATIVE TRANSITION ZONES WILLIAM CLARENCE BROADDUS SPRING 2016 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music Education with honors in Music Education Reviewed and approved* by the following: Eric McKee Professor of Music Theory Thesis Supervisor Linda Thornton Associate Professor of Music Education Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT Releasing every year since 2008, Marvel superhero films have taken over the box office as a family favorite cinematic experience. The public acceptance begs the question as to whether or not there is something special about this group of superhero films compared to others. After further analysis, it seems that a majority of these films draw the audience in through a specific combination of sight and sound. While screen writers follow the five traditional segments of plot: exposition, rising action, climax, falling action, and resolution, it is the moments between these segments of plot that draw the audiences attention. Composers have identified these transition zones and use music in various ways to provide critical information about character development, conflict, and resolution. Through the analysis of four Marvel films: Captain America: The First Avenger, Captain America: The Winter Soldier, Iron Man, and Iron Man 2, I aim to evaluate the success at which these composers guide the audience through each transition zone into new segments of plot. ii TABLE OF CONTENTS LIST OF FIGURES..................................................................................................... iii ACKNOWLEDGEMENTS...................................................................................... v Introduction ............................................................................................................
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Comic Book Film Genre
Copyright by Matthew David Young 2013 The Dissertation Committee for Matthew David Young Certifies that this is the approved version of the following dissertation: Musical Topics in the Comic Book Superhero Film Genre Committee: James Buhler, Supervisor Byron Almén David Neumeyer Eric Drott Charles Berg Musical Topics in the Comic Book Superhero Film Genre by Matthew David Young, B.A.; M.Music Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2013 Dedication To my wife, for her support, encouragement, and patience. Acknowledgements Foremost, I would like to thank Dr. Buhler for his support and guidance throughout this project. His insight has been invaluable in helping me to expand the depth and increase the quality of this work. I am also deeply grateful to my committee, Byron Almén, David Neumeyer, Eric Drott, and Charles Ramírez Berg for their inspiration and teachings which helped me to grow as an academic. I would also like to thank Sean Johnston, Cari McDonnell, and Emily Kausalik for providing the peer support network every graduate student needs to give feedback and brainstorm new directions to explore in this project. Finally, I would like to thank my wife and parents, for their support, love, encouragement, and guidance not only throughout graduate school, but throughout life. v Musical Topics in the Comic Book Superhero Film Genre Matthew David Young, Ph.D. The University of Texas at Austin, 2013 Supervisor: James Buhler The comic book superhero film has become a mainstay amongst Hollywood blockbuster films.
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The Marvel Sonic Narrative: a Study of the Film Music in Marvel's the Avengers, Avengers: Infinity War, and Avengers: Endgame
Graduate Theses, Dissertations, and Problem Reports 2019 The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity arW , and Avengers: Endgame Anthony Walker West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons Recommended Citation Walker, Anthony, "The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity arW , and Avengers: Endgame" (2019). Graduate Theses, Dissertations, and Problem Reports. 7427. https://researchrepository.wvu.edu/etd/7427 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Marvel Sonic Narrative: A Study of the Film Music in Marvel's The Avengers, Avengers: Infinity War, and Avengers: Endgame Anthony James Walker Dissertation submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree Doctor of Musical Arts in Music Performance Keith Jackson, D.M.A., Chair Evan A.
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