Easterner, Vol. 33, No. 13, January 21, 1982

This issue of the Easterner contains articles about an ad published with Associated Students (ASEWU) funds not applicable to EWU students, potential federal budget cuts, the video game arcade in the Pence Union Building (PUB), a talk by professor Hubert Liang, the Speech and Hearing Clinic, the Child Center, the men\u27s and women\u27s basketball season, men\u27s swimming, and wrestling.https://dc.ewu.edu/student_newspapers/1954/thumbnail.jp

Vidding

Vidding is a well-established remix practice where fans edit an existing film, music video, TV show, or other performance and set it to music of their choosing. Vids emerged forty years ago as a complicated technological feat involving capturing footage from TV with a VCR and syncing with music—and their makers and consumers were almost exclusively women, many of them queer women. The technological challenges of doing this kind of work in the 1970s and 1980s when vidding began gave rise to a rich culture of collective work, as well as conventions of creators who gathered to share new work and new techniques. While the rise of personal digital technology eventually democratized the tools vidders use, the collective aspect of the culture grew even stronger with the advent of YouTube, Vimeo, and other channels for sharing work. Vidding: A History emphasizes vidding as a critical, feminist form of fan practice. Working outward from interviews, VHS liner notes, convention programs, and mailing list archives, Coppa offers a rich history of vidding communities as they evolved from the 1970s through to the present. Built with the classroom in mind, the open-access electronic version of this book includes over one-hundred vids and an appendix that includes additional close readings of vids

Verifying tag annotation and performing genre classification in music data via association analysis

Music Information Retrieval aims to automate the access to large-volume music data, including browsing, retrieval, storage, etc. The work presented in this thesis tackles two non-trivial problems in the field. First problem deals with music tags, which provide descriptive and rich information about a music piece, including its genre, artist, emotion, instrument, etc. At present, tag annotation is largely a manual process, which often results in tags that are subjective, ambiguous, and error-prone. We propose a novel approach to verify the quality of tag annotation in a music dataset through association analysis. Second, we employ association analysis to predict music genres based on features extracted directly from music. We build an association-based classifier, which finds inherent associations between music features and genres. We demonstrate the effectiveness of our approaches through a series of simulations and experiments using various benchmark music datasets

The Other Sides of Billy Joel: Six Case Studies Revealing the Sociologist, the Balladeer, and the Historian

The failure of music critics to recognize Billy Joel’s tendency towards writing songs about issues greater than himself, issues such as the Vietnam War, the Cold War, struggling American industries and the effect of mass media on popular culture, particularly on two albums, The Nylon Curtain and Storm Front, has led to a pronounced lacuna in serious scholarship on Joel and his music. Relegated to adult contemporary radio stations due to the success of romantic pop ballads such as “Just the Way You Are,” “She’s Always a Woman” and “Uptown Girl,” and derided as a drunken egomaniac by many reviewers, Joel has thus far been largely ignored by the academic world. The greater part of Joel’s oeuvre supports these assumptions, as the majority of his creative output focuses on his life, both romantic and professional. Careful analysis of six songs, however, three from each of the aforementioned albums (“Pressure,” “Goodnight Saigon,” and “Allentown” from The Nylon Curtain and “We Didn’t Start the Fire,” “Leningrad,” and “The Downeaster ‘Alexa’” from Storm Front) reveal Joel, for perhaps the only times in his lengthy career, placing the priorities and needs of his audience before his own. The result is a pair of albums (and three pairs of songs) that stand out from the remainder of his output in terms of social relevance. In these six songs, Joel adopted new roles, roles that he had previously eschewed. In “Pressure” and “We Didn’t Start the Fire,” Joel becomes a sociologist, commenting on the societal effects of pop culture. “Goodnight Saigon” and “Leningrad” address the two great wars of Joel’s lifetime, the Vietnam War and the Cold War, while “Allentown” and “The Downeaster ‘Alexa’” provide narratives on the decline of the Pennsylvania steel industry and the North Atlantic fishery, respectively. Joel’s evolution as both a songwriter and a global citizen becomes apparent through close examination of these six songs and the albums on which they appear, and their respective videos, revealing Joel’s songwriting powers at their peak and his groundbreaking approach to the art of video-making

Vidding

Vidding is a well-established remix practice where fans edit an existing film, music video, TV show, or other performance and set it to music of their choosing. Vids emerged forty years ago as a complicated technological feat involving capturing footage from TV with a VCR and syncing with music—and their makers and consumers were almost exclusively women, many of them queer women. The technological challenges of doing this kind of work in the 1970s and 1980s when vidding began gave rise to a rich culture of collective work, as well as conventions of creators who gathered to share new work and new techniques. While the rise of personal digital technology eventually democratized the tools vidders use, the collective aspect of the culture grew even stronger with the advent of YouTube, Vimeo, and other channels for sharing work. Vidding: A History emphasizes vidding as a critical, feminist form of fan practice. Working outward from interviews, VHS liner notes, convention programs, and mailing list archives, Coppa offers a rich history of vidding communities as they evolved from the 1970s through to the present. Built with the classroom in mind, the open-access electronic version of this book includes over one-hundred vids and an appendix that includes additional close readings of vids

Navigating the media divide: Innovating and enabling new business models

The worlds of traditional and new media are already clashing, and it\u27s a conflict that continues to expand. However, a second type of conflict is brewing - one that could cause major rifts among traditional partners. For media companies, it\u27s time to pursue different and somewhat opposing business models - and navigate the media divide