#ii. study. › j. mayer .
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CKUA - Fill-In Playlists: 2024
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Below are the playlists for shows where I filled-in as guest host on CKUA during 2024.
Explore my playlist history for other dates and programs
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TITLE • PERFORMING ARTIST • ALBUM • AIRTIME
(01) 2024-01-01 - 20:00-22:00 - Classic Examples
G. P. Telemann: Concerto TWV51:D2 • La Stagione Frankfurt • WIND CONCERTOS VOL. 4 • 20:01
A. Vivaldi; Sonata No 1 in B flat RV 47 • Jean-Guihen Queyras • SONATAS FOR VIOLONCELLO • 20:16
A. Vivaldi: Concerto for basson in d RV 481 • Tafelmusik Baroque Orchestra • VIVALDI CON AMORE • 20:29
A. Vivaldi: Concerto For 2 Cellos • Canadian Guitar Quartet • MAPPA MUNDI • 20:41
J. S. Bach: Goldberg Variations: 1 • Luc Beausejour • ANTHOLOGY • 20:52
J. S. Bach: Menuet In G BWV Anh 11 • Luc Beausejour • ANTHOLOGY • 20:57
J. C. Bach: Sinfonia Concertante In G Major • Pratum Integrum Orchestra • SYMPHONIES & ENSEMBLES • 21:04
F. Chopin: Piano Trio in g Op. 8 • Camille Thomas • THE CHOPIN PROJECT • 21:15
J-P. Rameau: Gavotte & 6 Doubles • Luc Beausejour • ANTHOLOGY • 21:45
(02) 2024-01-02- 20:00-22:00 - Classic Examples
L. Mozart: Trumpet Concerto In D • Hakan Hardenberger • TRUMPET CONCERTOS • 20:01
W. A. Mozart: Divertimento In Eb • Henning Kraggerud & Lars Anders • DIVERTIMENTO • 20:10
J. N. Hummel: Trumpet Concerto in Eb • Alison Balsom • TRUMPET CONCERTOS • 20:25
F. J. Haydn: Harpsichord Concerto In D maj • Harald Hoeren • HAYDN: CONCERTOS • 20:44
F. Couperin: Les Bergeries • Luc Beausejour • ANTHOLOGY • 20:54
M. Bruch: Violin Concerto in Gm, Op 2 • Randall Goosby • BRUCH/PRICE • 21:02
G. Rossini: Sonata #5 in Eb • Fewer; Bruno; Schwarz; Quarringt • 6 SONATE A QUATTRO • 21:29
J. Rea: Over Time • Orchestre Metropolitain • ORCHESTRE METROPOLITAIN • 21:46
(03) 2024-01-03 - 20:00-22:00 - Classic Examples
^^ Donor recommendations/requests
R. Schumann: Studies Op 56 • Guitar4mation • TRANS4MATION • 20:01
A. Dvorak: Serenade for Strings, Op. 22 • Appassionata • DVORAK/SUK • 20:14
F. Liszt: Hungarian Rhapsody #2 • Orch Symphonique De Montreal • RHAPSODY • 20:48
B. Smetana: Ma Patrie: La Moldau • Orch Du C.D.M. du Quebec • LES CONCERTS BELL • 21:04
J. S. Bach: Cantata 208: Sheep... • Peter Hurford & Michael Laird Brass Ens. • TRUMPET VOLUNTARY • 21:19 ^^
J. S. Bach: Passacaglia & Fugue In Cm BWV 582 • Alexander Sevastian • FAMOUS WORKS • 21:24 ^^
D. Milhaud: Cinema-fantaisie • M. Galy & J. Gonzalez Buajasan • NUIT PARISIENNE • 21:39
(04) 2024-01-04 - 20:00-22:00 - Classic Examples
R. Sakamoto: Merry Christmas, Mr. Lawrence • Pablo Sainz-Villegas • THE BLUE ALBUM • 20:02
R. Sakamoto: Solitude • Angele Dubeau & La Pieta • BLANC • 20:08
R. V. Williams: Symphony #4 In Fm • The Oregon Symphony • MUSIC FOR A TIME OF WAR • 20:15
G. Martin: Pepperland • George Martin • YELLOW SUBMARINE • 20:50
G. Martin: Sea of Time • George Martin • YELLOW SUBMARINE • 20:52
G. Martin: Sea of Holes • George Martin • YELLOW SUBMARINE • 20:55
G. Martin: Yellow Submarine in Pepperland • George Martin • YELLOW SUBMARINE • 20:58
F. Poulenc: Violin Sonata FP 119 • M. Galy & J. Gonzalez Buajasan • NUIT PARISIENNE • 21:05
C. Saint-Saens: Oboe Sonata, Op. 166 • Canada's NAC Wind Quintet • MUSIC FOR WIND INST. • 21:24
P. Roux: Concierto tradicionuevo • Canadian Guitar Quartet • MAPPA MUNDI • 21:36
H. Mancini: The Search For Cat • Nels Cline • LOVERS • 21:56
(05) 2024-01-09 - 20:00-22:00 - Classic Examples
L. Boccherini: Sonata #1 G13 • Fedor Amosov; Jen-Ru Sun • SIX SONATAS • 20:02
F. Jiranek: Sonata in C, JK 28 • L. Torgensen; V. Luks; L. Mashek • IL VIOLINO BOEMO • 20:12
F. Benda: Concerto for Violin & Orch (Lee II-18) • Ivan Zenaty; Prague Phil • VIOLIN CONCERTOS • 20:24
G. B. Sammartini: Symphony in A (J-C 62) • Aradia Ensemble • SIX SYMPHONIES • 20:39
G. F. G. Sammartini: Concerto in Gm, Op. 85 • Albrecht Mayer; I Musici Di Roma • TESORI D'ITALIA • 20:49
C. M. V. Weber: Silvana Variations, Op.33 • James Campbell; John.York • JAMES CAMPBELL: CLARINET • 21:01
L. V. Beethoven: Symphony #4 • Tafelmusik Baroque Orchestra • SYMPHONIES 1-9 • 21:15
C. Saint-Saens: Havanaise, Op.83 (R.202) • Maria Duenas; Wiener Symphoniker • BEETHOVEN AND BEYOND • 21:49
(06) 2024-01-10 - 20:00-22:00 - Classic Examples
F. Mendelssohn: Hebrides Overture • London SO • MENDELSSOHN; SCHUMANN • 20:01
C. Schumann: Trio In g Op17 • The Hertz Trio • THE HERTZ TRIO • 20:13
M. Ravel: Violin Sonata M.12 • M. Galy & J. Gonzalez Buajasan • NUIT PARISIENNE • 20:41
A. B. Mangore: La Catedral • Warren Nicholson • SONIDOS DEL SUR • 21:03
J. Cage: In a Landscape • Murcof x Wagner • STATEA • 21:12
A. Dvorak: Nocturne, Op 40 • Appassionata • DVORAK/ SUK: SERENADES TCHEQUES21:23
F. Chopin: Polonaise-Fantaisie Op 61 • Janina Fialkowska • CHOPIN - RECITAL 3 • 21:32
A. Part: Spiegel Im Spiegel • Amanda Forsyth • SOARING WITH AGAMEMNON • 21:45
M. Forsyth: Andante From Sagittarius • Amanda Forsyth • SOARING WITH AGAMEMNON • 21:52
(07) 2024-01-11 - 20:00-22:00 - Classic Examples
E. Satie: Gymnopedie No. 1 • Pablo Sainz-Villegas • THE BLUE ALBUM • 20:01
B. Britten: Simple Symphony... • Kammerorchester; H. Haenchen • BACH - MOZART... • 20:07
G. Mahler: Symphony #1 • Bamberger Symphoniker • SYMPHONIE NO1 • 20:25
F. Schubert: Piano Sonata (Op.122-P) D568 • Janina Fialkowska • SCHUBERT: PIANO SONATA #7... • 21:28
(08) 2024-01-15 - 18:00-20:00 - Catch and Release
Remembrance • Delerium • KARMA • 18:00
Why • Enigma • LE ROI EST MORT, VIVE LE ROI! • 18:09
Life In Mono • Mono • FORMAICA BLUES • 18:14
Stereo • Hello Moth • WHEN THE SKY MELTED • 18:18
Entanglement • Imogen Heap • SPARKS • 18:23
You Serve No One • Real Cardinal • SINGLE • 18:27
Pai Maarire • TE KAAHU • TE KAAHU O RANGI • 18:29
Go Downstairs to the Blue Moon… • Bubble Tea and Cigarettes • T.N.B.P. • 18:32
Light A Fire • Cynthia Hamar • JOINT & MARROW • 18:39
Fallen Snow • First Aid Kit • PALOMINO • 18:45
Snow Bank • Doug Hoyer • WALKS WITH THE TENDER AND GROWING NIGHT • 18:48
Cantara • Dead Can Dance • WITHIN THE REALM OF A DYING SUN • 18:54 ^^
Tahawerte Ine Idinette • Etran de L'Air • AGADEZ • 19:01
Nada • Lido Pimienta • MISS COLOMBIA • 19:09
Tenere Den • Tinariwen • AMATSSOU • 19:14
Crop Circle • Baby Jey • CROP CIRCLES • 19:17
Kill Bill • SZA • ______ • 19:25
Shades Of Man • Khruangbin • CON TODO EL MUNDO • 19:27
Salt Breaker Sand • Florida BC • SALT BREAKER SAND • 19:31
Dushko Moia • Kinva • KINVA • 19:37
This Flight Tonight • Aimee-Jo Benoit • BORJONER • 19:41
Otemihin • Jessica McMann • PRAIRIE DUSK • 19:47
Says • Nils Frahm • ______ • 19:55
(09) 2024-01-16 - 20:00-22:00 - Classic Examples
W. A. Mozart: Adagio in B Minor, K540 • Hong Xu • PIANO SONATAS • 20:02
W. A. Mozart: Sonata In D Major, K381 • Duo Majoya • DAVIS CONCERT ORGAN DUETS • 20:15
W. A. Mozart: Piano Concerto, K466 • Jan Lisiecki • PIANO CONCERTOS • 20:25
P. Glass: Metamorphosis 1-5 • Jenny Lin • GLASS: PIANO WORKS • 21:01
R. Strauss: Cello Sonata Op. 6 • S. Isserlis; C. Shih • A GOLDEN CELLO DECADE • 21:29
K. Keller: Into the Light • Kevin Keller • AMBIENT CHAMBER MUSIC • 21:47
(10) 2024-01-17 - 20:00-22:00 - Classic Examples (donated hour)
^^ Donor recommendations/requests
J. N. Hummel: Trumpet Concerto in Eb • Alison Balsom • TRUMPET CONCERTOS • 20:01
F. Chopin: Three Mazurkas, Op. 63 • Janina Fialkowska • COMPLETE MAZURKAS • 20:20
M. Ravel: Gaspard de la Nuit • Jan Lisiecki • NIGHT MUSIC • 20:28
R. Sakamoto: The Sheltering Sky Theme • Ryuichi Sakamoto • THE SHELTERING SKY • 20:54
E. Elgar: Sea Pictures, Op37: Where Corals Lie • London Philharmonic Orchestra • ELGAR: SEA PICTURES • 21:05 ^^
E. Grieg: Cello Sonata, Op. 36 • Steven Isserlis & Stephen Hough • MENDELSSOHN, GRIEG & HOUGH • 21:11 ^^
E. Grieg: March Of The Dwarfs • Edmonton Symphony Orchestra • GREAT ORCHESTRAL MARCHES • 21:39 ^^
E. Grieg: Norwegian Peasants' March • Derek Yaple-Schobert • PIANO MUSIC OF EDVARD GRIEG • 21:42 ^^
E. Grieg: Holberg Suite Op 40 #1-3 • Derek Yaple-Schobert • PIANO MUSIC OF EDVARD GRIEG • 21:47 ^^
(11) 2024-01-18 - 20:00-22:00 - Classic Examples
J. McMann: Kayas-ayiwan • Jessica McMann • PRAIRIE DUSK • 20:02
J. McMann: The River Has Many Ways… (suite) • Jessica McMann • PRAIRIE DUSK • 20:07
J. McMann: Stories of My People 1-3 • Jessica McMann • PRAIRIE DUSK • 20:15
J. McMann: Lament for Small Souls
Jessica McMann • PRAIRIE DUSK • 20:26
J. McMann: Mountain Prairie • Jessica McMann • PRAIRIE DUSK • 20:29
J. McMann: Otemihin • Jessica McMann • PRAIRIE DUSK • 20:32
J. McMann: The Realities We Have Made • Jessica McMann • PRAIRIE DUSK • 20:39
J. McMann: For Nikawiy… • Jessica McMann • PRAIRIE DUSK • 20:47
J. McMann: Pekiwewina • Jessica McMann • PRAIRIE DUSK • 20:53
S. Moccio: Night Suite • Stephan Moccio • NIGHT SUITE • 21:01
A. Thorvaldsdottir: Archora • Iceland Symphony Orchestra • ATMOSPHERIQUES • 21:11
M. Mazzoli: Sinfonia for Orbiting Spheres • Iceland Symphony Orchestra • ATMOSPHERIQUES • 21:31
B. Gisladottir: OS • Iceland Symphony Orchestra • ATMOSPHERIQUES • 21:40
S. Reich: Pulses 1 & 2 • Colin Currie Group & Synergy Vocals • MUSIC FOR 18 MUSICIANS • 21:47
(12) 2024-01-23 - 20:00-22:00 - Classic Examples
J. C. Bach: Sinfonia Concertante In G • Pratum Integrum Orchestra • SYMPHONIES & ENSEMBLES • 20:01
J. G. Graun: Concerto in C, WV Cv:XIII:96 • Les Accents • BACH & CO • 20:12
J. N. Hummel: Trio For Flute, Cello & Piano • Chinook Trio • THE CHINOOK TRIO • 20:22
M. Haydn: Concerto In D Major For Alto Trombone • Christian Lindberg; Austrian CO • CLASSICAL CONCERTOS • 20:37
A. Part: Summa (Credo) • Theatre of Voices • ARVO PART: ESSENTIAL CHORAL WORK • 21:01
V. Fung: String Quartet #1 • Jasper String Quartet • INSECTS & MACHINES • 21:08
F. David: La Nuit • James Ehnes • HOMAGE • 21:26
A. Dvorak: Serenade In Dm, Op 44 • Canadian Chamber Ensemble • WAGNER; DVORAK • 21:33
(13) 2024-01-24 - 20:00-22:00 - Classic Examples
E. Grieg: Sigurd Jorsalfar, Op56 • Swedish Radio SO • A NORDIC FESTIVAL • 20:01
R. Schumann: Symphony #1 in Bb, Op 38 • Scottish Chamber Orchestra • SCHUMANN: THE SYMPHONIES • 20:19
F. Chopin: Nocturne, Op 27 • Ingrid Fliter • CHOPIN - PRELUDES • 20:52
F. Schubert: 4 Impromptus (Op 142-P) D935 • Janina Fialkowska • PIANO SONATA #7 • 21:02
L. Von Call: Trio in C • A. Holbing; Q. Holbing; J. Zsapka; J. Slavik • 2 VIOLINS & 1 GUITAR II • 21:39
(14) 2024-01-25 - 20:00-22:00 - Classic Examples
E. Satie: Gnossienne #1 • Pablo Sainz-Villegas • THE BLUE ALBUM • 20:01
A. Hovhaness: Symphony #23 ''Ani'', Op249 • Trinity College Of Music Wind Orch • SYMPHONIES NOS. 7, 14 & 23 • 20:06
A. Dvorak: The Noonday Witch • Orchestre Symphonique De Montreal • DANSE MACABRE • 20:43
J. C. F. Bach: Concerto for Viola & Harpsichord • Roger Myers & Celine Frisch • VIOLA MUSIC OF THE BACH FAMILY • 21:02
S. Prokofiev: Violin Sonata, Op 80 • Harriet Mackenzie • GRIEG, TCHAIKOVSKY & PROKOFIEV • 21:10
A. Part: Magnificat • Theatre of Voices • ARVO PART: ESSENTIAL CHORAL WORK • 21:38
A. Part: Nunc Dimittis • Theatre of Voices • ARVO PART: ESSENTIAL CHORAL WORK • 21:45
A. Part: Peace Upon You • Theatre of Voices • ARVO PART: ESSENTIAL CHORAL WORK • 21:52
(15) 2024-01-29 - 18:00-20:00 - Catch and Release (donated hour)
Pick it Up • The Fast Romantics • PICK IT UP • 18:01
Persephone • Allison Russell • OUTSIDE CHILD • 18:03
Give Me a Reason • Dominique Fils-Aime • OUR ROOTS RUN DEEP • 18:08
Since You Been Gone (Live in Studio) • Tanika Charles • THE UNION SESSIONS EP • 18:13
Good Kinda High (ft. US Girls) • Glenn Gould • UNINVITED GUESTS • 18:17
Tongues (Daedelus Remix) • Tanya Tagaq • TONGUES NORTH STAR REMIXES • 18:20
Inside Outside • This Is the Kit • CAREFUL OF YOUR KEEPERS • 18:23
C'est Si Bon (It's So Good) • Eartha Kitt • MISS KITT, TO YOU • 18:28
Caravan • Oscar Peterson • GENESIS • 18:31
Asfalto E Sal • Ceu • CARAVANA SEREIA BLOOM • 18:34
Monster Mash • Bobby 'Boris' Pickett • THE ORIGINAL MONSTER MASH • 18:37
Danceland (Come With Me) • The Garrys • SURF MANITOU • 18:40
Hopeless Romantic • Bobby Dove • HOPELESS ROMANTIC • 18:44
Fallen Snow • First Aid Kit • PALOMINO • 18:48
Easy • Hannah Georgas • ALL THAT EMOTION • 18:51
Harbour • Cate Le Bon • POMPEII • 18:56
Winter Lining • Kue Varo • COWBOY WITCHCRAFT • 19:03
One, Two, and Three Eyes • Florida BC • SALT BREAKER SAND • 19:09
Survivor's Guilt • Danny Michel • BLACK BIRDS ARE DANCING OVER ME • 19:12
Body • Julia Jacklin • CRUSHING • 19:16
Where Your Love Lives • Cynthia Hamar • JOINT & MARROW • 19:21
Alles in Allem • Einsturzende Neubauten • ALLES IN ALLEM • 19:28
Someone New • Helena Deland • SOMEONE NEW • 19:31
Lost On You • LP • DEATH VALLEY • 19:35
Is There a Pill? • Richard Hawley • FURTHER • 19:41
Don't Take it (Don't Give it Away) • Des Arcs • MASKS • 19:44
Lowlands • Blue Moon Marquee • SCREAM, HOLLER & HOWL • 19:48
Goldfinger • Bill Frisell & Thomas Morgan • SMALL TOWN: RECORDED LIVE... • 19:52
(16) 2024-01-30 - 20:00-22:00 - Classic Examples
F. Benda: Sonata in Cm (Lee III-15) • L. Torgensen; V. Luks; L. Mashek • IL VIOLINO BOEMO • 20:01
C. P. E. Bach: Flute Concerto WQ169 • Patrick Gallois; Kammerorchester C. P. E. Bach • CONCERTOS FOR FLUTE… • 20:12
J. N. Hummel: Quartet in G maj. • Ames Piano Quartet • MOZART; HUMMEL; BEETHOVEN • 20:38
S. Reich: Electric Counterpoint 1-3 • Valerie Milot; Les Violons du Roy • ORBIS • 21:01
N. Skalkottas: Five Greek Dances (from Op. 11) • I Musici de Montreal • DANCES FROM THE HEART OF EUROPE • 21:17
S. Boisseau: Fuir • Simon Boisseau • LE DEJEUNER • 21:29
S. Boisseau: Le jardin de Gaspard Fauteux • Simon Boisseau • LE DEJEUNER • 21:34
S. Boisseau: Au parc du ruisseau • Simon Boisseau • LE DEJEUNER • 21:38
S. Boisseau: Saule • Simon Boisseau • LE DEJEUNER • 21:41
S. Boisseau: Le Dejeuner • Simon Boisseau • LE DEJEUNER • 21:44
S. Boisseau: Racoons Waltz • Simon Boisseau • LE DEJEUNER • 21:47
S. Boisseau: Imposteur • Simon Boisseau • LE DEJEUNER • 21:50
S. Boisseau: Adieu les vagues • Simon Boisseau • LE DEJEUNER • 21:54
(17) 2024-01-31 - 20:00-22:00 - Classic Examples
F. Chopin: Bolero, Op. 19 • Michel Dussault • THE UNKNOWN CHOPIN • 20:01
Grieg: Violin Sonata #3, Op 45 • Harriet Mackenzie • GRIEG, TCHAIKOVSKY & PROKOFIEV • 20:10
F. Schubert: Piano Sonata, D. 537 • Paul Lewis • PIANO SONATAS • 20:35
P. Glass: Symphony #4 Heroes • American Composers Orch • HEROES SYMPHONY • 21:01
J. McMann: Otemihin • Jessica McMann • PRAIRIE DUSK • 21:46
J. McMann: Pekiwewina • Jessica McMann • PRAIRIE DUSK • 21:52
(18) 2024-02-01 - 20:00-22:00 - Classic Examples
G. Tailleferre: Pastorale in Ab • Quynh Nguyen • THE FLOWER OF FRANCE • 20:01
P. Glass: The Hours Suite • Angele Dubeau & La Pieta • PHILIP GLASS PORTRAIT • 20:06
E. LeBel: …and the high leaves of the trees…
UltraViolet
…AND THE HIGH LEAVES OF THE TREES…
Feb 1st 20:34
A. B. Mangore: La Catedral: pt 3
Warren Nicholson • SONIDOS DEL SUR • 20:48
B. Britten: Violin Concerto Op15 • James Ehnes • BRITTEN & SHOSTAKOVICH • 21:03
A. Hovhanness: Concerto For Soprano Saxophone... • Eastern Music Festival Orchestra • SYMPHONY NO 48 • 21:35
(19) 2024-02-06 - 20:00-22:00 - Classic Examples
L. Boccherini: Sonata #2 G6 • Fedor Amosov; Jen-Ru Sun • SIX SONATAS • 20:01
L. V. Beethoven: Piano Quartet in Eb, Op16 • Ames Piano Quartet • MOZART; HUMMEL; BEETHOVEN • 20:16
F. J. Haydn: Quartet in Eb, Op33 'The Joke' • Windermere String Quartet • THE GOLDEN AGE OF STRING QUARTETS • 20:41
A. Zemlinsky: Trio in Dm, Op.3 • Amici • AMICI • 21:01
B. Bartok: Contrasts, BB116 • James Ehnes • CHAMBER WORKS FOR VIOLIN • 21:30
E. Rush: Moonlight in Canada • Emma Rush • A DREAM OF COLOUR • 21:47
E. Rush: Temps Passe • Emma Rush • A DREAM OF COLOUR • 21:52
(20) 2024-02-07 - 20:00-22:00 - Classic Examples
Schneider: Romantic Piano Concerto • Okanagan Symphony Orchestra • CANADIAN SOUNDSCAPES • 20:01
F. Chopin: Sonata, Op 58 in Bm • Louis Lortie • LORTIE PLAYS CHOPIN • 20:21
W. Boyce: Come, Holy Ghost • Choir of New College, Oxford • CORONATION ANTHEMS • 20:49
W. Boyce: O Where Shall Wisdom • Girls & Men Canterbury Cathedral • GREAT BRITISH CATHEDRAL ANTHEMS • 20:51
W. Lutoslawski: Concerto For Piano & Orch • Berlin Philharmonic Orchestra • PIANO CONCERTO... • 21:05
W. Lutoslawski: Five Dances Preludes 1-5 • James Campbell & John York • JAMES CAMPBELL: CLARINET • 21:33
S. Prokoviev: Fantasy in Fm, Op 49 • Jeremy Samolesky • PIANO SONATA NO 6 • 21:43
(21) 2024-02-08 - 20:00-22:00 - Classic Examples
J. McMann: Otemihin • Jessica McMann • PRAIRIE DUSK • 20:02
W. Lutoslawski: Partita For Violin & Piano • Miranda Cuckson & Blair McMillen • BARTOK, SCHNITKE, LUTOSLAWSKI • 20:11
W. Lutoslawski: Piano Concerto • Leif Ove Andsnes • SHADOWS OF SILENCE • 20:30
Good Vibes • Jim Findlay & Mingmei Xu • I SEE • 21:03
G. Torelli: Trumpet Concerto in D • Alison Balsom • TRUMPET CONCERTOS • 21:08
G. Torelli: Concerto Grosso in Gm • Les Violons Du Roy • SIMPHONIES DES NOELS • 21:14
J. Williams: Elegy for Cello and Orchestra • Berlin Philharmonic Orchestra • THE BERLIN CONCERT • 21:21
J. Williams: The Imperial March • Edmonton Symphony Orchestra • GREAT ORCHESTRAL MARCHES • 21:29
J. Williams: Duel of the Fates • Cincinnati Pops Orchestra • GREAT FILM FANTASIES • 21:32
F. Poulenc: Concerto in Dm, S61 • Louis Lortie; BBC PO; H. Mercier • PIANO CONCERTOS • 21:38
(22) 2024-02-13 - 20:00-22:00 - Classic Examples
F. Jiranek: Sonata in F, JK 29 • L. Torgensen; V. Luks; L. Mashek • IL VIOLINO BOEMO • 20:02
C. P. E. Bach: Sonata H.30 • Keith Jarrett • CARL PHILIPP EMANUEL BACH • 20:12
W. A. Mozart: Piano Concerto #27, K595 • Angela Hewitt; Orch da Camera di Mantova • PIANO CONCERTOS • 20:28
G. B. Sammartini: Concerto in A • Elinor Frey; Rosa Barocca • EARLY ITALIAN CELLO CONCERTOS • 21:01
E. Grieg: Lyric Pieces, Op 54 • Derek Yaple-Schobert • PIANO MUSIC • 21:13
C. Debussy: Premiere Rapsodie • James Campbell; John York • JAMES CAMPBELL: CLARINET • 21:34
C. Czerny: Fantasia Concertante • Chinook Trio • THE CHINOOK TRIO • 21:43
(23) 2024-02-14 - 20:00-22:00 - Classic Examples
F. Chopin: Scherzo #1 in Bm, Op 20 • Mikolaj Warszynski • PIANO SOLO • 20:01
F. Chopin: Nocturne in Cm, Op 48-1 • Mikolaj Warszynski • PIANO SOLO • 20:10
C. Gounod: Petite Symphonie • Ottawa Winds; Michael Goodwin • GOUNOD; CHAN; STRAUSS • 20:18
Trad: My Luve is Like a Red, Red Rose • Voces8 • ENCHANTED ISLE • 20:37
C. Saint-Saens: Mon coeur s'ouvre a ta voix • Tine Thing Helseth • STORYTELLER • 20:41
J. Sibelius: Suite Violin & Strings • Dong-Suk Kang; Lahti Symph Orch • FINLANDIA • 20:49
J. Barry: From Russia With Love (Main Titles) • John Barry Orchestra • F.R.W.L. SOUNDTRACK • 21:05
A. Dvorak: Piano Trio #3, Op 65, B130 • Triple Forte • PIANO TRIOS • 21:07
O. Arnalds: We Contain Multitudes • Olafur Arnalds • A SUNRISE SESSION (EP) • 21:48
V. Silvestrov: Farewell, O World... • Murcof x Wagner • STATEA • 21:51
(24) 2024-02-15 - 20:00-22:00 - Block Heater 9.0 Special Broadcast
Live From the Ironwood • Starpainter • BLOCK HEATER 9.0 • 20:00
Mark of Cain • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:02
Let It Pass • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:06
Cemetery • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:10
Waiting For a Train • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:14
Even in a Car • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:20
Slammin' on the Breaks • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:25
Wild Azaleas • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:29
Ladyfingers • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:33
Summer in Your Mouth • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:37
Speed of the Sound of Loneliness • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:43
Travelogue • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:48
Low-Hanging Fruit • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:51
Grocery Store • Starpainter • LIVE FROM BLOCK HEATER 9.0 • 20:55
Everywhere I Go • Cat Clyde • DOWN ROUNDER • 21:01
City I Love • Rich Aucoin • EPHEMERAL • 21:04
Yip Yip • Kue Varo • COWBOY WITCHCRAFT • 21:08
Tears Through A Sunrise • Daniel Romano's Outfit • COBRA POEMS • 21:11
Take a Little Piece of My Heart • Jay Gilday • THE CHOICE AND THE CHASE • 21:17
Hard Ground • Leela Gilday • NORTH STAR CALLING • 21:21
Silly Happy Wild (Live in Studio) • Tanika Charles • THE UNION SESSIONS EP • 21:24
Sun Rise • Dominique Fils-Aime • STAY TUNED! • 21:29
Low Light (In This Space) • Odario (w/ Dawn Pemberton) • GOOD MORNING, HUNTER • 21:31
Tongues (Daedelus Remix) • Tanya Tagaq • TONGUES NORTH STAR REMIXES • 21:35
So Typically Now • U.S. Girls • BLESS THIS MESS • 21:39
Nature • Vieux Farka Toure • SAMBA • 21:44
Hotter Colder • This Is the Kit • MOONSHINE FREEZE • 21:47
Make It All Work Out • Jesse Roper • ______ • 21:51
The Secret • Vieux Farka Toure • THE SECRET • 21:55
(25) 2024-02-20 - 20:00-22:00 - Classic Examples
G. B. Sammartini: Symphony in A (J-C 62) • Aradia Ensemble • SIX SYMPHONIES • 20:02
W. A. Mozart: Piano Concerto #17, K453 • Angela Hewitt; Orch da Camera di Mantova • PIANO CONCERTOS • 20:13
L. Boccherini: Sonata #1 G13 • Fedor Amosov; Jen-Ru Sun • SIX SONATAS • 20:44
F. Mendelssohn-Hensel: Allegro Molto in Cm • Heather Schmidt • PIANO SONATAS • 20:54
F. Mendelssohn: Quartet in Eb, Op.12 • The Double-Reed Quartet • MENDELSSOHN, GERSHWIN, STILL • 21:01
F. Price: Piano Sonata in Em • Michelle Cann • REVIVAL • 21:28
M. Forsyth: Rondo in Stride • Amanda Forsyth • SOARING WITH AGAMEMNON • 21:53
(26) 2024-02-21 - 20:00-22:00 - Classic Examples
F. Chopin: Grand Duo Concertante, Op 129 • Camille Thomas • THE CHOPIN PROJECT • 20:01
L. V. Beethoven: Piano Sonata #8 • Paul Badura-Skoda • PAUL BADURA-SKODA BOX • 20:46
C. Czerny: Overture in E • Edmonton Symphony Orchestra • CZERNY: A REDISCOVERED GENIUS • 21:10
C. Czerny: String Quartet in Em • St. Lawrence String Quartet • CZERNY: A REDISCOVERED GENIUS • 21:19
C. Czerny: Variations Brillantes… Bellini • Y. Tal; A. Groethuysen; A. Kuert • CZERNY: A REDISCOVERED GENIUS • 21:46
(27) 2024-02-22 - 20:00-22:00 - Classic Examples
S. Reich: Different Trains (Before) • Mivos Quartet • THE STRING QUARTETS • 20:01
R. Stohr: Suite No. 1 in C, Op 8 • Sinfonia Varsovia • ORCHESTRAL MUSIC • 20:12
J. Sibelius: Tapiola, Op 112 • Atlanta Symphony Orchestra • SIBELIUS: SYMPHONYS 6 & 7 • 20:33
J. McMann: Otemihin • Jessica McMann • PRAIRIE DUSK • 20:53
J. McMann: Stories of My People suite • Jessica McMann • PRAIRIE DUSK • 21:01
S. Reich: Different Trains (During) • Mivos Quartet • THE STRING QUARTETS • 21:17
S. Reich: Different Trains (After) • Mivos Quartet • THE STRING QUARTETS • 21:24
E. Varese: Ameriques • Seattle Symphony • DVORAK / VARESE • 21:35
(28) 2024-02-27 - 20:00-22:00 - Classic Examples
W. Marsalis: Profundo Lamento • Lincoln Center Jazz Orch; W. Marsalis • VITORIA SUITE • 20:02
F. Price: Symphony #4 • Philadelphia Orch; Y. Nezet-Seguin • PRICE / DAWSON • 20:13
W. G. Still: Serenade for Orchestra • Royal Scottish Nat. Orch; Z. Schiff • ORCHESTRAL WORKS • 20:48
W. G. Still: Mother and Child (excerpt) • Rachel Barton Pine • VIOLIN LULLABIES • 20:54
W. G. Still: Violin Suite • Royal Scottish Nat. Orch; Z. Schiff • ORCHESTRAL WORKS • 21:00
M. Bonds: Spiritual Suite • Michelle Cann • REVIVAL • 21:17
W. Marsalis: Esta Tierra Y El Mar • Lincoln Center Jazz Orch; W. Marsalis • VITORIA SUITE • 21:31
W. Marsalis: Fiesta En La Calle Dato Dato • Lincoln Center Jazz Orch; W. Marsalis • VITORIA SUITE • 21:39
W. Marsalis: Mendizorrotza Swing • Lincoln Center Jazz Orch; W. Marsalis • VITORIA SUITE • 21:46
F. Johnson: Dirge • The Chestnut Brass Company • PASTIME WITH GOOD COMPANY • 21:52
(29) 2024-02-28 - 20:00-22:00 - Classic Examples
F. Chopin: Ballade #1 Op 23 • John Stetch • OFF WITH THE CUFFS • 20:01
F. Liszt: Piano Sonata in Bm, S178 • Angela Hewitt • LISZT: PIANO SONATA • 20:16
F. Schubert: Serenade D957 #4 • Christian Li • DISCOVERING MENDELSSOHN • 20:32
J. Brahms: Hungarian Dance #4 • Charlie Siem • UNDER THE STARS • 20:38
J. Brahms: Hungarian Dance #6 • Roby Lakatos & His Ensemble • LAKATOS • 20:42
J. Brahms: Hungarian Dance #9 • RIAS Kammerchor, Justin Doyle • COMPLETE LIEBESLIEDER • 20:46
J. Brahms: Hungarian Dance #17 • Kerson Leong / Philip Chiu • BIS • 20:48
C. M. V. Weber: Aufforderung Zum Tanze • Paul Badura-Skoda • PAUL BADURA-SKODA BOX • 20:54
W. Dawson: Negro Folk Symphony • Yannick Nezet-Seguin • PRICE; DAWSON • 21:07
U. Kay: Concerto for Orchestra. • Royal Scottish Nat Orch • AFRICAN AMERICAN VOICES II • 21:44
(30) 2024-02-29 - 20:00-22:00 - Classic Examples
F. Price: Fantasie Negre #1 • Michelle Cann • REVIVAL • 20:02
C-T. Perkinson: Worship - A Concert Overture • Royal Scottish National Orchestra • AFRICAN AMERICAN VOICES II • 20:12
V. Fung: String Quartet #4 • Jasper String Quartet • INSECTS & MACHINES • 20:20
J. Greenwood: There Will Be Blood #4 • Copenhagen Philharmonic • DESSNER / GREENWOOD • 20:33
V. Archer: Trio #2 • Hertz Trio • THE HERTZ TRIO • 20:38
Autumn Leaves • Eva Cassidy; London SO • I CAN ONLY BE ME • 20:58
G. Rossini: Sonata #2 in A • Fewer; Bruno; Schwarz; Quarrington • ROSSINI: 6 SONATE A QUATTRO • 21:04
J. G. Albrechtsberger: Concerto for Alto Trombone • Christian Lindberg; Austrian CO • CLASSICAL CONCERTOS • 21:20
F. Kuhlau: Trio, Op 119 • Chinook Trio • THE CHINOOK TRIO • 21:36
J. Cage: In a Landscape • Murcof x Wagner • STATEA • 21:55
(31) 2024-03-05 - 20:00-22:00 - Classic Examples
J. Agrell: Sinfonia in F, Op 16 • Orebro Chamber Orchestra • OREBRO CHAMBER ORCHESTRA • 20:02
J. C. Bach: Harpsichord Concerto, Op 1 #6 • The Mozartists; Ian Page • MOZART IN LONDON • 20:11
W. A. Mozart: Symphony #38, K504 • Orchestra Mozart • MOZART SYMPHONIES • 20:23
W. A. Mozart: Symphony #39, K543 • Boston Symphony Orchestra • MOZART SYMPHONIES • 21:01
O. Morawetz: Carnival Overture • Winnipeg Symphony Orchestra • MORAWETZ, TCHAIKOVSKY, KODALY, DVORAK • 21:32
Z. Kodaly: Dances of Galanta • Winnipeg Symphony Orchestra • MORAWETZ, TCHAIKOVSKY, KODALY, DVORAK • 21:38
(32) 2024-03-06 - 20:00-22:00 - Classic Examples
F. Schubert: String Quartet #14 in Dm • St. Paul Chamber Orchestra • STRING QUARTETS • 20:12
J. F. Fasch: Sonata in C • P. Whelan; Ensemble Marsyas • SONATAS • 20:44
P-A Togni: Requiem et Lux • Luminous Voices; T. Shantz • SEA DREAMS • 21:01
K Jenkins: Requiem: In Paradisum • Polyphony; S. Layton • JENKINS - MOTETS • 21:09
Bill Douglas: Deep Peace • Ars Nova Singers; T. Morgan • DEEP PEACE • 21:13
C. Debussy: Clair De Lune • Valerie Milot • AQUARELLES • 21:17
Doppler & Doppler: Fantasy On Th • The Clarinotts • THE CLARINOTTS • 21:24
Z. Kodaly: Kallai Kettos • Quartetto Gelato • QUARTETTO GELATO TRAVELS THE ORI • 21:36
A. Dvorak: Rhapsody Op 45 #3 • Orch Symphonique De Montreal • RHAPSODY • 21:42
(33) 2024-03-07 - 20:00-22:00 - Classic Examples
A. Part: Spiegel Im Spiegel • Amanda Forsyth • SOARING WITH AGAMEMNON • 20:01
The South Downs • Amanda Forsyth • SOARING WITH AGAMEMNON • 20:08
Z. Kodaly: Sonata, Op 8 • Alisa Weilerstein • SOLO • 20:23
Z. Kodaly: Hary Janos suite, pt 1-6 • London Philharmonic Orchestra • KODALY / PROKOFIEV • 21:01
Z. Kodaly: String Quartet #2 Op 10/1 • Dante Quartet • KODALY QUARTETS • 21:28
J. McMann: Prairie Sunrise • Jessica McMann • PRAIRIE DUSK • 21:46
J. McMann: Kayas-ayiwan • Jessica McMann • PRAIRIE DUSK • 21:54
(34) 2024-03-12 - 20:00-22:00 - Classic Examples
J. C. Bach: Sinfonia, Op. 6/6 • Collegium Aureum • THE LONDON SYMPHONIES • 20:02
F. J. Haydn: Piano Sonata #52, HobXVI39 • Roman Rabinovich • PIANO SONATAS, VOL 1 • 20:19
W. A. Mozart: Symphony #14 • Boston Symphony Orchestra • MOZART SYMPHONIES • 20:36
W. A. Mozart: Symphony #41 • Boston Symphony Orchestra • MOZART SYMPHONIES • 21:01
S. Boisseau: Fuir • Simon Boisseau • LE DEJEUNER • 21:40
S. Boisseau: Le jardin de Gaspard Fauteux • Simon Boisseau • LE DEJEUNER • 21:44
S. Boisseau: Au parc du ruisseau • Simon Boisseau • LE DEJEUNER • 21:48
S. Boisseau: Saule • Simon Boisseau • LE DEJEUNER • 21:51
S. Boisseau: Le Dejeuner • Simon Boisseau • LE DEJEUNER • 21:54
(35) 2024-03-13 - 20:00-22:00 - Classic Examples
E. Grieg: Country Dance • Norwegian CO; Iona Brown • MUSIC FOR STRINGS • 20:01
E. Grieg: Anitras Dance • Quatuor Fandango • UAREKENA • 20:02
A. Dvorak: Symphony 9, Op 95 • Seattle Symphony • NEW WORLD SYMPHONY • 20:07
J-P. Rameau: L'entretien des muses... • Raphael Feuillatre • VISAGES BAROQUES • 20:52
L. Leo: Concerto L10 #2 • Elinor Frey; Rosa Barocca • EARLY ITALIAN CELLO CONCERTOS • 21:02
S. Rachmaninov: Piano Concerto #2 • Royal Scottish NO; B. Giltburg • PIANO CONCERTO • 21:20
(36) 2024-03-14 - 20:00-22:00 - Classic Examples
A. Bruckner: Symphony #5 • London Symphony Orchestra • SYMPHONY #5 • 20:01
A. Lauro: Venezuelan Walzes 1-4 • Warren Nicholson • SONIDOS DEL SUR • 21:20
Duo Sonata for Violin & Cello • The Mercer Sisters • OUR STRENGTH, OUR SONG • 21:32
J. Massenet: Meditation From Thais • S. Staryk; Royal Concertgebouw • STARYK RETROSPECTIVE • 21:53
(37) 2024-03-19 - 20:00-22:00 - Classic Examples
J. C. Bach: Sinfonia, Op. 18 #4 • Collegium Aureum • THE LONDON SYMPHONIES • 20:02
F. Jiranek: Sonata in C, JK 28 • L. Torgensen; V. Luks; L. Mashek • IL VIOLINO BOHEMO • 20:14
W. A. Mozart: Symphony #29, K201 • Orchestra Mozart • MOZART SYMPHONIES • 20:30
E. Lalo: Cello Concerto in Dm • Ofra Harnoy • ELGAR & LALO • 21:01
E. Grieg: Holberg Suite, Op 40 • Derek Yaple-Schobert • GRIEG PIANO MUSIC • 21:30
J. Carlstedt: Sonata Per Archi, Op. 72 • Orebro Chamber Orchestra • OREBRO CHAMBER ORCHESTRA • 21:50
(38) 2024-03-20 - 20:00-22:00 - Classic Examples
F. Chopin: Three Mazurkas, Op. 63 • Janina Fialkowska • COMPLETE MAZURKAS • 20:01
Koreny: Cinema 1 • The Clarinotts • THE CLARINOTTS • 20:08
J. N. Hummel: Mandolin Concerto S28 • Avi Avital • CONCERTOS • 20:20
C. Gounod: Petite Symphonie • Ottawa Winds; M. Goodwin • GOUNOD; CHAN; STRAUSS • 20:36
H. Berlioz: Le Corsaire • Montreal Symphonique Orch • BERLIOZ: OVERTURES • 20:54
R. Schumann: Symphony #4 (1851) • Scottish Chamber Orch • THE SYMPHONIES • 21:06
C. Debussy: Violin Sonata L.140 • M. Galy & J. Gonzalez Buajasan • NUIT PARISIENNE • 21:38
J. S. Bach: Goldberg Variations #1 • Luc Beausejour • ANTHOLOGY • 21:52
(39) 2024-03-21 - 20:00-22:00 - Classic Examples
D. Bortz: Night Clouds • Orebro Chamber Orchestra • OREBRO CHAMBER ORCHESTRA • 20:02
J. Davison: Brass Quintet #1 • Chestnut Brass Company • PASTIME WITH GOOD COMPANY • 20:15
J. Cage: In a Landscape • Valerie Milot • ORBIS • 20:30
A. Bareil: Castille 1382 • Valerie Milot • ORBIS • 20:38
B. Linde: Serenata Nostalgica. Op. 30 • Orebro Chamber Orchestra • OREBRO CHAMBER ORCHESTRA • 20:43
F. Mendelssohn-Hensel: Sonata O Capriccio • Heather Schmidt • PIANO SONATAS • 21:01
Oore & Oore: 1-2-3 Radical Cycle • D. Oore; S. Oore • RADICAL CYCLE • 21:09
L-E. Larsson: Concertino, Op. 457 • Orebro Chamber Orchestra • OREBRO CHAMBER ORCHESTRA • 21:43
L-E. Larsson: Folkvisenatt • Orebro Chamber Orchestra • OREBRO CHAMBER ORCHESTRA • 21:50
(40) 2024-03-25 - 18:00-20:00 - Catch and Release
Vesna • DakhaBrakha • NA MEZHI • 18:01
Hey Hey Rise Up • Pink Floyd & Andrij Khlyvniuk • ______ • 18:09
I See/ Icy Water • Cris Derksen & Kinnie Starr • THE COLLAPSE • 18:12
In Circles • Void Comp • METROPOL • 18:16
Barefoot • AImee-Jo Benoit • HORNS OF HOPE • 18:21
Cielo Azul • Notas de 4 • COSAS MARAVILLOSAS • 18:25
This Is When the Sky Gets Big • This Is the Kit • CAREFUL OF YOUR KEEPERS • 18:29
Ngui Yi • Blick Bassy • 1958 • 18:33
Sabhuku • Ronald Nyandoro • SABHUKU • 18:38
Paprika • Japanese Breakfast • JUBILEE • 18:45
Fireworks • First Aid Kit • RUINS • 18:49
Neptune City • Nicole Atkins • NEPTUNE CITY • 18:53
Dumala • Go_A • ______ • 19:00
Mishto • Gogol Bordello • LIVE FROM AXIS MUNDI • 19:04
Down by the Water • Kobo Town • CARNIVAL OF THE GHOSTS • 19:11
Escargot and Risotto • Tendavillage • ESCARGOT AND RISOTTO • 19:15
Cheese and Onions • The Ruttles • THE RUTTLES • 19:20
Cosmik Debris • Frank Zappa • APOSTROPHE • 19:23
The Train Kept A-Rollin' • Johnny Burnette • ______ • 19:27
Think • Aretha Franklin • THE BLUES BROTHERS (SOUNDTRACK) • 19:31
The Good Ones • Nuela Charles • AWARE • 19:34
Te Queria • Lido Pimienta • MISS COLOMBIA • 19:38
Nunca Es Suficiente • Natalia Lafourcade • HASTA LA RAIZ • 19:42
Silence • Delerium (ft. Sarah McLachlan) • KARMA • 19:49
'D' Minor Blues • Lenny Breau • THE HALLMARK SESSIONS • 19:55
(41) 2024-03-26 - 20:00-22:00 - Classic Examples
W. A. Mozart: Sonata K225 • I Musici De Montreal • CHURCH SONATAS • 20:03
W. A. Mozart: Symphony #1, K16 • Il Pomo D'Oro • THE SYMPHONIES • 20:09
W. A. Mozart: Symphony #40, K550 • Concentus Musicus Wien • INSTRUMENTAL ORATORIUM • 20:22
I. Tyson: Four Strong Winds • Edmonton Symphony Orchestra • ______ • 21:02
G. Faure: Ballade pour piano, Op. 19 • Angela Hewitt • PIANO MUSIC • 21:08
G. Faure: Valse-caprice #1, Op. 30 • Angela Hewitt • PIANO MUSIC • 21:23
G. Bryars: The South Downs • Amanda Forsyth • SOARING WITH AGAMEMNON • 21:31
V. Silvestrov: Postlude D-S-C-H • Gryphon Trio • SHOSTAKOVICH & SILVESTROV • 21:44
P. Glass: Closing • Angele Dubeau & La Pieta • PHILIP GLASS PORTRAIT • 21:50
(42) 2024-03-27 - 20:00-22:00 - Classic Examples
F. Chopin: Valse posthume, Bolero • Michel Dussault • UNKNOWN CHOPIN • 20:01
L. V. Beethoven: Symphony #7 • Tafelmusik Baroque Orchestra • SYMPHONIES NOS 7 & 8 • 20:14
G. Verdi: Un Ballo In Maschera • Patrick Gallois • FANTASIES ON OPERA MELODIES • 20:55
B. Brennan: Kaleidoscope • Bill Brennan • KALEIDOSCOPE • 21:11
J. Brahms: Piano Trio #1, Op 8 • Paul Badura-Skoda & Jean Fournier • EDITION • 21:24
(43) 2024-03-28 - 20:00-22:00 - Classic Examples (season finale)
R. V. Williams: The Lark Ascending • Winnipeg Symphony Orchestra • THE LARK ASCENDING • 20:02
R. V. Williams: Symphony #8 • BBC SO; M. Brabbins • SYMPHONIES • 20:19
M. Ravel: Danse Religieuse • Orchestre National De Lyon • DAPHNIS ET CHLOE • 20:49
M. Ravel: Devant L'Autel Des Nymphes • Orchestre National De Lyon • DAPHNIS ET CHLOE • 20:54
R. Sakamoto: A Flower Is Not A Flower • Ryuichi Sakamoto • PLAYING THE PIANO • 21:05
M. Mussorgsky: Boris Godunov: Skucno Marine... • E. Garanca; Orch D. L. C. Valenciana • REVIVE • 21:14
S. Rachmaninoff: Isle of the Dead, Op. 29 • Philadelphia Orch; Y. Nezet-Seguin • SYMPHONIES 2 & 3 • 21:20
F. Chopin: 2 Nocturnes, Op27 #1-2 • Maurizio Pollini • 24 PRELUDES • 21:43
V. Silvestrov: Farewell, O World... • Murcof x Wagner • STATEA • 21:52
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Krótkie życzenia Urodzinowe Po Niemiecku - Speakin.pl
M. Kowalska, Wydawnictwo KR, Warszawa 1998, s. 2, Wydawnictwo Naukowe PWN, Warszawa 1999, s. E. Sobol, Wydawnictwo Naukowe PWN, Warszawa 2002, s. Ł. Zaremba, Narodowe Centrum Kultury, Warszawa 2013, s. ”. Korzystam z naszego wydania pierwszej strony działania w przekładzie S. Panki O pochodzeniu człowieka, Państwowe Wydawnictwo Rolnicze i Leśne, Warszawa 1959, s. 6 Cytuję fragment wiersza w przekładzie Zygmunta Krukowskiego, „Strony” 1998 nr 1-2, s. Polski przekład cytuję za Biblią Ty- siąclecia. Dla chętnych - wykonać prezentację multimedialną, w jakiej należy zaprezentować wybrany region Polski - miasto, które zatrudniacie do zwiedzania(max. To Hans Frank jest widoczny za stanie na gruncie Polski gett, w jakiej lokowano Żydów. Artystka chętnie sięga po tematy z zeszłej epoki Młodej Polski. Wypisz z ćwiczenia 1 słownictwo i oddaj je na język polski w zeszycie. K. Stępnik, D. Trześniowski, Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej, Lublin 2010, s. Proszę obejrzeć fragment dowolnego meczu piłki nożnej. sprawdzian !
Jeśli mi powiedzą, że po imieniu, to występuję proszę mi mówić po imieniu. 13 W Biblii Króla Jakuba: „For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known”. 2 W.J.T. Mitchell Seeing through race, Harvard University Press, Cambridge, MA-London 2012, s. J. Lisowski, Futura Press, Łódź 1992, s. 26 T. Morrison Playing in the Dark: Whiteness and the Literary Imagination, Harvard University Press, Cambridge, MA-London 1992, s. 22 L. Lieberman How “Caucasoids” Got Such Big Crania and Why They Shrank: From Morton to Rushton, „Current Anthropology” February 2001 Vol. 4 A. Appiah The Uncompleted Argument: Du Bois and the Illusion of Race, „Critical Inquiry” Vol. 16 Race, the floating signifier: Featuring Stuart Hall, reż. De Wit, B., De Clercq, D., Aerts, P. Biomechanical analysis of the stance phase during barefoot and shod running.
Hasegawa, H., Yamauchi, T., Kraemer, W. Foot strike patterns of runners at the 15-km point during an elite-level half marathon. Daoud, A., Geissler, G., Wang, F., Saretsky, J., Daoud, Y., Lieberman, D. Foot strike and injury rates in endurance runners: a retrospective study. Knapik, J., Trone, D., Swedler, D., Villasenor, A., Bullock, S., Schmied, E., Bockelman, T., Han, P., Jones, B. Injury reduction effectiveness of assigning running shoes based on plantar shape in Marine Corps basic training. rozprawka , K., Curry, E., Matzkin, E. Barefoot running: Does it prevent injuries? Lieberman, D. What we can learn about running from barefoot running: an evolutionary medical perspective. Richards, C., Magin, P., Callister, R. Is your prescription of distance running shoes evidence based? Larson, P., Higgins, E., Kaminski, J. i wsp. Kikuchi H., Ohtsuka E., Ono K. i wsp. Divert, C., Mornieux, G., Baur, H., Mayer, F., Belli, A. Mechanical comparison of barefoot and shod running. Foot strike patterns and collision forces in habitually barefoot versus shod runners.
Foot strike patterns of recreational and sub-elite runners in a long-distance road race. Ridge, S., Johnson, A., Mitchell, U., Hunter, I., Robinson, E., Rich, B., Brown, S. Foot bone marrow edema after 10-week transition to minimalist running shoes. Salzler, M., Bluman, E., Noonan, S, i wsp. Toro C., Rodés B., Poveda E., Soriano V. Rapid development of subacute myelopathy in three organ transplant recipients after transmission of human T-cell lymphotropic virus type I from a single donor. 19 R. Miles Racism After “Race Relations”, Routledge, London-New York 1993, s. 43 N. Ignatiev How the Irish Became White, Routledge, New York-London 1995, s. 12 W.E.B Du Bois The Souls of Black Folk, Dover Publications, New York 2012, s. 14 W.E.B. Du Bois The souls… The epidemiology of the human T-cell lymphotropic virus type I and type II: etiologic role in human disease. Allogeneic bone marrow transplantation-related transmission of human T lymphotropic virus type I (HTLV-I).
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me, i'm going to be the deadliest piece on the board. ( insp. )
#vii. copyright. › girls wanna have fun .#i. gospel. › c. hale .#ii. study. › c. hale .#iii. bodyclaim. › c. hale .#i. gospel. › c. argent .#ii. study. › c. argent .#iii. bodyclaim. › c. argent .#ii. study. › d. hale .#i. gospel. › d. hale .#iii. bodyclaim. › d. hale .#i. gospel. › j. mayer .#ii. study. › j. mayer .#iii. bodyclaim. › j. mayer .#iv. connection. › the pack .
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Still chuckling over the Adoption Papyrus, had to print it out for my non-tech mom so she could read it too and we had a BLAST talking about it the rest of the afternoon, so really, thanks for making that post.
Any recommendations on where to start learning more about ancient Egyptian law and/or other surviving documents like the Adoption Papyrus? Your reply was the first I've ever heard about it before.
There are many Ancient Egyptian legal documents, like the oracle texts of the Kenbet from Deir el Medina (some of these you can read in McDowell's Village Life in Ancient Egypt: Laundry Lists and Love Songs, which is a relatively easily accessible book (insomuch as it is easily purchasable)), which are mostly on ostraca. Not all of them are published, unfortunately. Further books/articles on Ancient Egypt Law/Legal documents will be quite difficult/expensive for you to get hold of, but I can list them here.
n.b. Abbreviations for Journals and Publishing houses I've put under a cut
Allam, S., 1973. Hieratische Ostraka und Papyri aus der Ramessidenzeit. Tubingen: Selbstverlag des Herausgebers.
Allam, S., 1991. Egyptian Law Courts in Pharaonic and Hellenistic Times. JEA, 77, 109-127.
Caminos, R., 1954. Late Egyptian Miscellanies. London: OUP. (this has a lot of random texts like letters and other personal documents, but it is *very* difficult to get hold of)
Capart, J. & Gardiner, A. H., 1939. Le Papyrus Léopold II aux Musées royaux d'art et d'histoire de Bruxelles et le Papyrus Amherst à la Pierpont Morgan Library de New York. Bruxelles: Patrimoine des Musées royaux d'art et d'histoire.
Capart, J., Gardiner, A. & Van de Walle, B., 1936. New Light on the Ramesside Tomb Robberies. JEA, 22, 169-193.
Černý, J., 1929. Papyrus Salt 124 (Brit. Mus.10055). JEA, 15, 243-258. David, A., 2010. The Legal Register of Ramesside Private Law Instruments. Wiesbaden: Harrassowitz Verlag.
Eyre, C. J., 1984. Crime and Adultery in Ancient Egypt. JEA, 70, 92-105.
Eyre, C. J., 1992. The Adoption Papyrus in Social Context. JEA, 78, 207-221.
Haring, B., 2010. Administration and Law: Pharaonic. In A. B. Lloyd (Ed.), Companion to Ancient Egypt. Chichester: Wiley-Blackwell, 218-236
Lorton, D., 1977. The Treatment of Criminals in Ancient Egypt: Through the New Kingdom. JESHO, 20, 2-64.
McDowell, A., 1990. Jurisdiction in the Workmen's Community of Deir el Medina. Leiden: Nederlands Instituut voor het Nabije Oosten. McDowell, A., 1999. Village Life in Ancient Egypt: Laundry lists and Love Songs. Oxford: OUP.
Peet, T., 1920. The Mayer Papyri A & B Nos M.11162 and M.11186 of the Free Public Museums, Liverpool. Liverpool: Library, Museums and Arts Committee of the Corporation of Liverpool.
Peet, T., 1925. Fresh Light on the Tomb Robberies of the Twentieth Dynasty at Thebes: Some New Papyri in London and Turin. JEA, 11, 37-55.
Peet, T., 1930. The Great Tomb-Robberies of the Twentieth Egyptian Dynasty: Being a Critical Study, with Translations and Commentaries, of the Papyri in which These are Recorded. 2nd ed. Oxford: Oxford Claredon Press.
Shupak, N., 1992. A New Source for the Study of the Judiciary and Law of Ancient Egypt: "The Tale of the Eloquent Peasant". JNES, 51(1), 1-18.
Vernus, P., 2003. Affairs and Scandals in Ancient Egypt. Ithaca and London: Cornell University Press.
ÄAT Ägypten und Altes Testament
BIFAO Bulletin de l'Institut Français d'Archéologie Orientale
CNWS Centre of Non-Western Studies
CUP Cambridge University Press
EES Egypt Exploration Society
GHP Golden House Publishing
GM Göttinger Miszellen
IFAO l'Institut Francais d'Archeologie Orientale
JEA Journal of Egyptian Archaeology
JESHO Journal of the Economic and Social History of the Orient
JNES Journal of Near Eastern Studies
OUP Oxford University Press
ZÄS Zeitschrift für Ägyptische Sprache und Altertumskunde
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Movie Odyssey Retrospective
Alice in Wonderland (1951)
There is an abandoned building at 1127 E 31st St. in Kansas City, Missouri. That 1922 building, made up of red brick and mortar, would have met the wrecking ball long ago, if not for its historical value. For one year, it housed the Laugh-O-Gram Studio, founded by Walt Disney and the first job in animated film for several people who would become instrumental in shaping the American animation industry. Alongside Disney, the Laugh-O-Gram staff included:
Ubbe “Ub” Iwerks, who co-created Mickey Mouse and Oswald the Lucky Rabbit with Walt. Ub stayed with the Disney studios as an animator or special effects specialist through Mary Poppins (1964);
Hugh Harman and Rudolf Ising, who founded Looney Tunes and Merrie Melodies with Warner Bros. in the 1930s under producer Leon Schlesinger, later moving to Metro-Goldwyn-Mayer (MGM);
and Friz Freleng, who joined Harman and Ising and Warner Bros and MGM as principally a director, while introducing or developing most of the central Looney Tunes characters.
All of these figures would shape the environment for animated talkies into the midcentury. But Laugh-O-Gram could not survive the financial obstacles that led to the studio’s closure after only a year. Go back and watch the Laugh-O-Gram shorts and you will find imaginative, rowdy stories paired with movements as fluid as animators not named Winsor McCay (1914’s Gertie the Dinosaur, 1918’s The Sinking of the Lusitania) could draw in the early 1920s. Laugh-O-Gram’s last film, Alice’s Wonderland (1923), was never released commercially to the public and – considering its hybrid of animation and live-action footage – demonstrates the influence McCay had over Disney and his fellow animators.
Later in 1923, Walt submitted Alice’s Wonderland to Margaret Winkler, whose Winkler Productions was the leading animated short film distributor of the time. Winkler had just fallen out professionally with Pat Sullivan, the co-creator of Felix the Cat. Needing a quick replacement and charmed by the animated frenzy surrounding the hybrid animation/live-action Alice, Winkler signed Walt Disney and his Laugh-O-Gram team (including child actress Virginia Davis) to produce the Alice Comedies short film series (1923-1927, including 1923’s Alice’s Wonderland) in Hollywood. These films, Disney’s first taste of commercial triumph, shared little resemblance to Lewis Carroll’s novels Alice’s Adventures in Wonderland and Through the Looking-Glass, except for the curiosity of the title character and the fantastical situations she might find herself in. After the end of the Alice Comedies series and the formation of Walt Disney Productions (now Walt Disney Animation Studios), Walt wished to adapt Carroll’s books – which he had been familiar with since his childhood in Missouri – into a feature film. Outside forces delayed the project, including the box office failure of Paramount’s live-action Alice in Wonderland (1933) and the creative and fiscal burdens that his studio had to bear during World War II.
During this time, Walt resigned himself to the fact that any animated adaptation of Carroll’s novels, more interested in illogic and wordplay than any sensible storytelling, would not reach the artistic heights of Snow White and the Seven Dwarfs (1937). His long wait to adapt Alice in Wonderland as a feature film would end in 1951, with the film co-directed by Clyde Geronimi, Wilfred Jackson, and Hamilton Luske. A stellar voice cast, mixture of storybook and unusual animation, and an acceptance of its own absurdity make Alice in Wonderland one of the best non-Golden Age Disney animated features.
Alice (voiced by Kathryn Beaumont) is a child, probably ten years of age give or take. She is one of the youngest protagonists in Disney’s animated canon and a rare human female lead without monarchical ties or aspirations. Her story is simply a fantastical dream of her subconscious’ creation. Thus, freed from the limitations and expectations of the “real world”, Alice in Wonderland – and the novels it was adapted from – is an episodic series of nonsensical encounters of the various characters that inhabit Alice’s Wonderland. This posed a dilemma for the Disney animators and the army of writers on the film. How does one make Alice, whose only notable characteristics include her naïveté and incurable curiosity, a more interesting character than what Lewis Carroll wrote? With the animators and writers finding no answer, Disney’s Alice is just as reactive (as opposed to proactive) as Carroll’s characterization for her. Inane things happen to and around her, infrequently because of her own initiative; anyone expecting the studio’s first female lead to write down names, possess a sharp wit, and kick ass might need to recalibrate said expectations given the source material.
This discourse wades into questions about literary fidelity in cinema – no standard formula exists for how literature should be adapted to a film. To adapt Alice’s Adventures in Wonderland and Through the Looking-Glass as faithfully as possible would be to invite structural and tonal chaos. Carroll’s numerous poetic asides, extremely abrupt (and, to me, exhausting) tonal shifts, and his near-complete dedication to exposition whenever nonsense is not present does not make for a digestible film. The Alice in Wonderland that audiences have enjoyed since 1951 presents its developments far out of any Carroll’s narrative order. The tone and individual moments remain Carroll-esque, but, upon release, British critics savaged the film for degrading Carroll’s best-known works (more on this later). Yet by my judgment and familiarity with Carroll’s books (which, to reiterate, are not concerned about character development) Disney’s animated version is the best cinematic adaptation in line with the Carroll’s artistic intentions.
Alice in Wonderland is best seen as a quasi-Disney package film filled with one-upmanship in its animation. A distracted Walt was barely aware of day-by-day developments during production, and thus did not rein in some of the animated excess Alice in Wonderland is now justly acclaimed for. For the second consecutive entry in the Disney animated canon, Mary Blair’s concept art (1950’s Cinderella, 1953’s Peter Pan) is principally responsible for what the background animators would adopt. In the bookend scenes outside Wonderland, the lush, foliage-filled backgrounds recall her work during Disney’s package era, and are easily the most “realistic” backgrounds since the inimitable Bambi (1942). Once the film descends into Wonderland, the background animators, attempting to convert her concept art into cel animation, attempt (but fail to) replicate the characteristic flatness of her concept art.
But for everything else integral to Blair’s artwork – the lack of straight lines, highly stylized architectural and natural features, and detonation of colors – the background animators (who would be assigned specific scenes) faithfully render her style as closely as they can without completely making Alice in Wonderland a modernist phantasmagoria. The film is an overload of colorful experimentation. Just choose from any one of the scenes involving the White Rabbit’s house, the Caterpillar’s toadstool hideaway, the tea party, or the Queen of Hearts’ domain and one is subject to a visual cacophony of inspired production design and artistic audacity. It can be overwhelming, but Wonderland’s locales represent some of the greatest examples of settings-as-character in almost all of animated cinema.
Alice’s Wonderland, however, is nothing without the characters that dwell within. Some of the most impressive character designs of Disney’s mid-century animated films appear in this film, thanks mostly to two of the “Nine Old Men” – Ward Kimball (Snow White and the Seven Dwarfs, 1971’s Bedknobs and Broomsticks) and Frank Thomas (1940’s Pinocchio, 1977’s The Rescuers) – and Norm Ferguson (“Dance of the Hours” in 1940’s Fantasia, 1953’s Peter Pan). Because of the sheer number of characters that Thomas and Kimball designed and directed on this film (and this is not even mentioning several other fellow directing animators), I will focus on two specific characters of theirs.
For Norm Ferguson, he is the sole directing animator of the Walrus and the Carpenter, the characters from the eponymous segment imparted to Alice by Tweedledee and Tweedledum (itself an adaptation of Carroll’s “The Walrus and the Carpenter” poem within Through the Looking-Glass). As a study of differences, the designs of both characters give their personalities away even if one were to mute the audio or view a still image. The Carpenter – scrawny, scruffy, and short – telegraphs his dimwittedness and gullibility from his opening moments on-screen. Adding to that visual characterization is that he shares a voice actor, J. Pat O'Malley, and a squeaky, honky timbre with Tweedledee and Tweedledum. O’Malley also voices the Walrus, but adjusts his delivery to a throaty bass, interspersed with the coughing one expects from a chain-smoker, let alone a chain-smoking walrus. The Walrus – appropriately rotund (as walruses should be) with a kitschy suit – is a charming fellow, but beneath that charm are his occasional all-knowing smirks that belie selfish intentions. Ferguson’s clashing character animation for both, in addition to the morbid comedy of “The Walrus and the Carpenter”, are a brilliant complement the abridged poem used in the scene. Alice in Wonderland would be Norman Ferguson’s penultimate film with the studio before his retirement due to complications with diabetes.
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With Alice in Wonderland, Frank Thomas is the directing animator for the movie’s antagonist for the second straight Disney animated feature. The techniques and artistry used for Cinderella’s Lady Tremaine and the Queen of Hearts – voiced deliciously (and boisterously) by Disney regular Verna Felton (Dumbo’s Mrs. Jumbo and the Elephant Matriarch, Cinderella’s Fairy Godmother) – could not be any more different. Where Lady Tremaine was heavily rotoscoped in her movements and facial expressions, there is nothing realistic about the Queen of Hearts’ physicality. As a buxom bundle of waving limbs, she has arguably the most fleshy and expressive face in a 1950s Disney animated feature. In that face, in Felton’s iconic voice acting, we find a crazed monarch who desperately needs to see a therapist to contain her volcanic temper. Thomas’ character design sells the Queen of Hearts’ mood swings – perfunctory courteousness, egomania, pettiness, and bloodlust (“Off with his head!”). Thus, she becomes Disney’s closest analogue to the uptight and pretentious narcissists that the likes of Bugs Bunny or, to a lesser extent, Daffy Duck might have brought down to size in a Looney Tunes short film. How fortunate that the Queen of Hearts only appears in Alice in Wonderland’s concluding stages; an entire film dedicated to her (please do not pass this hypothetical along to a Walt Disney Company executive) would be a wearisome indulgence.
The last masterstroke of character design is thanks to Ward Kimball. Kimball, shortly about to revert his focus from feature animation to television and the Disney theme parks, was the principal designer of the Cheshire Cat. The wide-grinning Cheshire Cat, voiced by Sterling Holloway (Kaa in 1967’s The Jungle Book, the original voice of Winnie the Pooh), is a distinctive swirl of purple and pink stripes, his yellow eyes giving off a blazing glare. As opposed to the Queen of Hearts, the Cheshire Cat – no more or less peculiar than any other inhabitant of Wonderland – rarely stands on his hind legs. Instead, he prefers to perch himself, stomach-first, and limit his non-facial physical movements. With Holloway’s mellifluous voice acting, the physics-bending Cheshire Cat is not the sort to be vengeful or unleash verbal fire and brimstone. But with his capabilities of troublemaking for his own personal entertainment, he is the least predictable and perhaps most dangerous character of all. Depending on the viewer, the Cheshire Cat can be seen as a darkly comic figure and/or the film’s greatest source of malevolence, however restrained.
After watching Alice in Wonderland more than most Disney animated films over the course of my lifetime, I still struggle over how to categorize Kimball’s magical cat. Certainly, Cheshire Cat is an antagonist, but do his actions place him in the pantheon of Disney villains? Reading Carroll’s books and noting – however circuitously – Cheshire Cat helps Alice become “unlost”, perhaps being considered a trickster will suffice.
The soundtrack to Alice in Wonderland contains the greatest number of songs (sixteen from a potential thirty) in the entire Disney animated feature canon. That is partly due to the length of these compositions – clocking in, in several instances, at just under or over one minute – and that more than a handful of these songs are adaptations (partial or complete) of a Lewis Carroll poem. Disney hired a battalion of Tin Pan Alley composers and lyricists to pen/adapt songs around Carroll’s poems, but just over half of the songs were composed by Sammy Fain (“Secret Love” in 1953’s Calamity Jane, “Love is a Many-Splendored Thing” from the 1955 film of the same name) set to Bob Hilliard’s (“Civilization”, also known as “Bongo, Bongo, Bongo (I Don’t Want to Leave the Congo)”) lyrics. Among their mostly original compositions, Fain and Hilliard are responsible for the title song, “In a World of My Own”, and “Painting the Roses Red”, among several other earworms utilizing Carroll’s poetry.
Debatably Alice in Wonderland’s ultimate earworm is the original song “A Very Merry Un-birthday” by Mack David, Al Hoffman, and Jerry Livingston (the trio also composed “Bibbidi-Bobbidi-Boo in 1950’s Cinderella). Because of this song’s affiliation with a certain ride at the Disney theme parks, you, the reader, might already be very familiar with the song’s melody without ever watching Alice in Wonderland. Sung raucously by the Mad Hatter and March Hare (incredible voice acting by Ed Wynn and Jerry Colonna, respectively) alongside Alice, the “unbirthday song” is even more jaunty, celebratory, and devilishly catchy than “Happy Birthday” itself. With this lengthy soundtrack, Alice in Wonderland’s songs completely overshadow and are referenced across Oliver Wallace’s (the notorious title song and score to 1942’s Der Fuehrer’s Face, 1963’s The Incredible Journey) score. For such a riotous and absurd movie, the film contains an equally riotous and absurd soundtrack to empower all of its nonsense.
The qualities that have made Alice in Wonderland treasured by many (including yours truly) today are the exact same ones that British literary and film critics took issue with in 1951. This Alice eviscerates Lewis Carroll’s literary vision and it is too “American”, these critics wrote. Walt Disney, years removed from his namesake studio’s Golden Age animated features (an era where he might have considered the words of academic and critics), now could not care less.
Walt’s distaste for academic and critics in the second half of his career began after musical and film critics pilloried Fantasia (1940). But his disdain for such individuals was fully realized after their response to the innovative and controversial Song of the South (1946) – which Walt intended as a hurrah for the American folklore that colored his childhood. Even upon Song of the South’s release, protesters and picketers decried the film for sentimentalizing the lives of black people in the immediate postbellum American South. “The master-and-slave relation is so lovingly regarded in your yarn,” New York Times film critic Bosley Crowther wrote, “… that one might almost imagine that you figure Abe Lincoln made a mistake. Put down that mint julep, Mr. Disney.” Disney took this wave of criticism over Song of the South personally, and convinced himself that supposedly communist enemies from rival studios and hostile sociopolitical circles were inflaming these attacks against his films and his studio. How dare these people, Walt must have thought, tell the inventor of Mickey Mouse and the man who gave Hugh Harman, Rudolf Ising, and Friz Freleng their first jobs in animated cinema what he could or could not do artistically. Walt Disney could justly say he laid the foundation for American animated cinema in Kansas City – before Burbank, before the overcrowded studio in Hyperion – all those years ago, which must have fueled his pride and dismissal of his naysayers.
In an earlier decade, Walt – especially when noting that Carroll’s work was integral to his start in animated film in the 1920s – might have publicly lashed out to the polarized response that met Alice in Wonderland. Now, Walt had compartmentalized his feelings. And as Alice in Wonderland made its way through theaters, a long-gestating animated feature featuring a canine romance was finally moving forward. Another film, made possible due to the windfalls from Cinderella, had just been greenlit, and would not see completion until decade’s end.
Although not successful in its theatrical run, Alice in Wonderland became the first Disney film to rejuvenate its reputation in the popular mindset through television. TV became widespread in the United States and Britain after the Second World War and, with it, Walt Disney would use the medium to broadcast his older films, to alter popular perceptions of his own persona and personal history, and to employ idealized images and storytelling in telling the story of his namesake studio. Removed from the cultural discourse dominating airwaves and headlines in the early 1950s, viewers in the decades following Alice in Wonderland’s release can now appreciate the film’s role in the Disney animated canon. Alice in Wonderland is a demented classic that, because of its narrative-unfriendly content, has influenced few films following it. The film adjusts Lewis Carroll’s books in ways that pay homage to his writing, but also to chart a colorful course for viewers and Disney fans as cinematically as possible.
My rating: 9/10
^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).
For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.
This is the twenty-first Movie Odyssey Retrospective. Movie Odyssey Retrospectives are reviews on films I had seen in their entirety before this blog’s creation or films I failed to give a full-length write-up to following the blog’s creation. Previous Retrospectives include The Kid (1921), Cinderella (1950), and The Sound of Music (1965).
#Alice in Wonderland#Walt Disney#Clyde Geronimi#Wilfred Jackson#Hamilton Luske#Kathryn Beaumont#Ed Wynn#Sterling Holloway#Verna Felton#J. Pat O'Malley#Bill Thompson#Mary Blair#Oliver Wallace#Ted Sears#Sammy Fain#Bob Hilliard#Norman Ferguson#Ward Kimball#Frank Thomas#My Movie Odyssey
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Positive Psychology and the Wellness Model.
The disease or medical model of ‘mental’ health focuses “on a deficit, disease model of human behavior.” The wellness model focuses “on positive aspects of human functioning."[i] This disease model ‘defective’ emphasis has been the overriding psychiatric perspective for well over a century.
We must move away from the disease model, which assumes that emotional distress is merely symptomatic of biological illness, and instead embrace a model of mental health and well-being that recognizes our essential and shared humanity. Our mental health is largely dependent on our understanding of the world and our thoughts about ourselves, other people, the future and the world.[ii]
In 2004, the World Health Organization began promoting the advantages of the wellness perspective, declaring health, "a state of complete physical, mental and social well-being and not merely the absence of disease or infirmity."[iii] The World Psychiatric Association agrees, stating, "the promotion of well-being is among the goals of the mental health system."[iv] As positive psychologists point out, "psychological wellbeing is viewed as not only the absence of mental disorder but also the presence of positive psychological resources."[v]
The wellness model's chief facilitator is positive psychology (PP), which originated with Maslow's[vi] seminal texts on humanism, and was legitimated by Seligman as American Psychological Association president in 1998. The focus of positive psychology and other optimistic approaches, is on virtues and strengths "not only to endure and survive, but also to flourish."[vii] PP describes recovery as people "(re-) engaging in their life on the basis of their own goals and strengths, and finding meaning and purpose through constructing and reclaiming a valued identity and valued social roles."[viii]
Positive psychology is a relatively new field (since 1998) that ostensibly complements and supports rather than replaces traditional psychology. "Positive psychology serves as an umbrella term to accommodate research investigating positive emotions and other positive aspects such as creativity, optimism, resilience, empathy, compassion, humor, and life satisfaction."[ix]
PP has been defined as the science of optimal functioning, its objective "to study, identify and amplify the strengths and capacities that individuals, families and society need to thrive."[x] Cultural psychologist Levesque[xi] describes optimal functioning as the study of how individuals attempt to achieve their personal potentials and become the best that they can be.
Research has shown that positive psychology interventions "improved well-being and decreased psychological distress in mildly depressed individuals, in patients with mood and depressive disorders, [and] in patients with psychotic disorders."[xii] Studies supports the utilization of positive psychological constructs, theories, and interventions for enhanced understanding and improvement of ‘mental’ health. "The things that allow people to experience deep happiness, wisdom, and psychological, physical and social wellbeing are the same strengths that buffer against stress and physical and mental illness."[xiii]
A range of approaches promoting wellbeing have been tested in intervention research. A recent study found positive psychology interventions showed "significant improvements in mental well-being (from non-flourishing to flourishing mental health) while also decreasing both anxiety and depressive symptom severity."[xiv] Continuing research suggests that a positive psychological outlook not only improves life outcomes but enhances health directly.[xv] A meta-analysis of 51 studies with 4,266 individuals utilizing therapies focusing on mindfulness, autobiography, positive writing, gratitude, forgiveness, or kindness, found PPIs "significantly enhance well-being . . . and decrease depressive symptoms.“[xvi]
The academic discipline of positive psychology continues to develop evidence-based interventions that focus on eliciting positive feelings, cognitions or behaviors.[xvii] Independent research shows PPIs "decreased psychological distress [in individuals] with mood and depressive disorders [and] patients with psychotic disorders . . . improving quality of life and well-being."[xviii] Positive psychology offers promising interventions "to support recovery in people with common mental illness, and preliminary evidence suggests it can also be helpful for people with more severe mental illness."[xix]
Positive Psychology 2.0. One of the early challenges of positive psychology was its inattention to the negative aspects of the individual. Recognizing this imbalance, psychologists advocated a more holistic approach to embrace the dialectical opposition of human experience. Positive Psychology 2.0 (PP 2.0) evolved as a correction to this singular focus on optimism so that it could "move forward in a more inclusive and balanced matter,[xx] incorporating both positive and negative aspects of the holistic individual. As one psychologist put it, "people are not just pessimists or optimists. They have complex personality structures."[xxi] PP 2.0 recognizes the individual achieves optimal human functioning by living a meaningful life that comes through full engagement. PP 2.0 is a balanced approach, one that "equally considers positive emotions and strengths and negative symptoms and disorders."[xxii]
The positive psychology perspective maintains that individuals with a ‘mental’ disorder can live satisfying and fulfilling lives regardless of symptoms or impairments associated with the diagnosis.[xxiii] Positive psychology aims "to emphasize the positive while managing and transforming the negative to increase well-being."[xxiv]
Positive psychology focuses on enhancing wellbeing and optimal functioning rather than ameliorating symptoms. By emphasizing wellness rather than dysfunction, the positive-psychology movement aims to destigmatize ‘mental’ illness. Positive psychologists believe "the constructive use of positive psychology perspective is generally needed in contemporary research to complement the long tradition of pathogen orientation.”[xxv]
[i] Mayer, C.-H., & May, M. (2019). The Positive Psychology Movement. PP1.0 and PP2.0. In C-H Mayer and Z. Kőváry (Eds.), New Trends in Psychobiography (pp. 155-172). Springer Nature Switzerland. https://doi.org/10.1007/978-3-030-916953-4_9.
[ii] Kinderman, P. (2014). Why We Need to Abandon the Disease-Model of Mental Health Care. (Online.) Scientific American. https://blogs.scientificamerican.com/mind-guest-blog/why-we-need-to-abandon-the-disease-model-of-mental-health-care/
[iii] Slade, M. (2010). Mental illness and well-being: the central importance of positive psychology and recovery approaches. BMC Health Service Research 10 (26), 1-17 (2010). https://doi.org/10.1186/1472-6963-10-26 10(26)
[iv] Schrank, B., Brownell, T., Tylee, A., & Slade, M. (2014). Psychology: An Approach to Supporting Recovery in Mental Illness. East Asian Arch Psychiatry, 24, 95-103 (2014).
[v] Sin, N. L., & Lyubomirsky, S. (2009). Enhancing Well-Being and Alleviating Depressive Symptoms with Positive Psychology Interventions: A Practice-Friendly Meta-Analysis. Journal of Clinical Psychology: In Session, 65(5), 467--487 (2009). doi:10.1002/jclp.20593
[vi] Maslow, A.H. (1943). A theory of human motivation. Psychological Review, 50(4): 370-396 (1943). doi.org/10.1037/h0054346; Maslow, A. (1954). Motivations and Personality. New York City: Harper & Brothers; Early edition.
[vii] Mayer, C.-H., & May, M. (2019). The Positive Psychology Movement. PP1.0 and PP2.0. In C-H Mayer and Z. Kőváry (Eds.), New Trends in Psychobiography (pp. 155-172). Springer Nature Switzerland. https://doi.org/10.1007/978-3-030-916953-4_9.
[viii] Schrank, B., Brownell, T., Tylee, A., & Slade, M. (2014). Psychology: An Approach to Supporting Recovery in Mental Illness. East Asian Arch Psychiatry, 24, 95-103 (2014).
[ix] Ibid.
[x] Carruthers, C., & Hood, C. D. (2005). The Power of Positive Psychology. Parks and Recreation. .file:///C:/Users/rober/ OneDrive/ Pending/New%20Psychobiography/carruthers%20x.pdf
[xi] Levesque, R. J. R. (2011). Optimal Functioning. In Levesque R. J. R. (eds) Encyclopedia of Adolescence. New York City: Springer. doi:https://doi.org/10.1007/978-1-4419-1695-2
[xii] Chakhssi, F., Kraiss, J. T., Sommers-Spijkerman, M., & Bohlmeijer, E.T. (2018). The effect of positive psychology interventions on well-being and distress in clinical samples with psychiatric or somatic disorders: a systematic review and metaanalysis. BMC Psychiatry 18:211, 1-17 (2018). https://doi.org/10.1186/s12888-018-1739-2.
[xiii] Carruthers, C., & Hood, C. D. (2005). The Power of Positive Psychology. Parks and Recreation. .file:///C:/Users/rober/ OneDrive/ Pending/New%20Psychobiography/carruthers%20x.pdf
[xiv] Schotanus-Dijkstra, M., Drossaert, C. H. C., Pieterse, M. E., Walburg, J. A., Bohlmeijer, E. T., & Smit, F. (2018). Towards sustainable mental health promotion: trial-based health-economic evaluation of a positive psychology intervention versus usual care. BMC Psychiatry 18:265, pp. 1-11 (2018). https://doi.org/10.1186/s12888-018-1825-5
[xv] Easterbrook, G. (2001). Psychology discovers happiness. I'm OK, You're OK. The New Republic, Article 27, 6
[xvi] Sin, N. L., & Lyubomirsky, S. (2009). Enhancing Well-Being and Alleviating Depressive Symptoms with Positive Psychology Interventions: A Practice-Friendly Meta-Analysis. Journal of Clinical Psychology: In Session, 65(5), 467--487 (2009). doi:10.1002/jclp.20593
[xvii] Schotanus-Dijkstra, M., Drossaert, C. H. C., Pieterse, M. E., Walburg, J. A., Bohlmeijer, E. T., & Smit, F. (2018). Towards sustainable mental health promotion: trial-based health-economic evaluation of a positive psychology intervention versus usual care. BMC Psychiatry 18:265, pp. 1-11 (2018). https://doi.org/10.1186/s12888-018-1825-5
[xviii] Chakhssi, F., Kraiss, J. T., Sommers-Spijkerman, M., & Bohlmeijer, E.T. (2018). The effect of positive psychology interventions on well-being and distress in clinical samples with psychiatric or somatic disorders: a systematic review and metaanalysis. BMC Psychiatry 18:211, 1-17 (2018). https://doi.org/10.1186/s12888-018-1739-2.
[xix] Schrank, B., Brownell, T., Tylee, A., & Slade, M. (2014). Psychology: An Approach to Supporting Recovery in Mental Illness. East Asian Arch Psychiatry, 24, 95-103 (2014).
[xx] Wong, P. T. P., & Roy, S. (2017). Critique of positive psychology and positive interventions. In N. J. L. Brown, T. Lomas, & F. J. Eiroa-Orosa (eds.), The Routledge International Handbook of Critical Positive Psychology, pp 142-160. London, UK: Routledge.
[xxi] Miller, A. (2008). A Critique of Positive Psychology— or ‘The New Science of Happiness.’ Journal of Philosophy of Education, 42(3-4), 591-608 (2008).
[xxii] Rashid, T., Anjum, A., Chu, R., Stevanovski, S., Zanjani, A., & Lennox, C. (2014). Strength based resilience: Integrating risk and resources towards holistic well-being. In G. A. Fava & C. Ruini (eds.), Increasing psychological well-being in clinical and educational settings (Vol. 8, pp. 153–176). Dordrecht, Netherlands: Springer.
[xxiii] Slade, M. (2010). Mental illness and well-being: the central importance of positive psychology and recovery approaches. BMC Health Service Research 10 (26), 1-17 (2010). https://doi.org/10.1186/1472-6963-10-26 10(26)
[xxiv] Mayer, C.-H., & May, M. (2019). The Positive Psychology Movement. PP1.0 and PP2.0. In C-H Mayer and Z. Kőváry (Eds.), New Trends in Psychobiography (pp. 155-172). Springer Nature Switzerland. https://doi.org/10.1007/978-3-030-916953-4_9.
[xxv] Ibid.
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Maria Goeppert Mayer: from nuisance to Nobel
The co-winner of the 1963 Nobel Prize in Physics was Maria Goeppert Mayer – one of only two women to receive it since Marie Curie back in 1903.
In its biographical entry for her, the Nobel Prize Foundation describes how, in the spring of 1924, she enrolled at the University at Gottingen, intending to become a mathematician, but found herself more attracted to physics. “This was the time when quantum mechanics was young and exciting,” it says.
Apart from that poetic observation, her Nobel biography describes her career in science and makes the astonishing claim that in 1946, having become a US citizen in 1933, she received an offer to work in Chicago.
“This was the first place where she was not considered a nuisance, but greeted with open arms,” it says.
It was quite an adventure – from nuisance to Nobel Prize – for Maria Goeppert, born on 28 June 1906, in Kattowitz, Germany (now Katowice, Poland).
In 1910 her father, Friedrich Goeppert, moved his family to Gottingen, Germany, where he’d been hired as a professor of paediatrics at the university. Her biographer, Robert G Sachs, says the move “came to dominate the whole structure of her education”.
Writing in volume 50 of Biographical Memoirs (1979), published by the US National Academy of Sciences, Sachs, a noted American theoretical physicist, says Gottingen University “was at the height of its prestige, especially in the fields of mathematics and physics”.
At Gottingen Goeppert met and studied under some of the leading lights of mathematics and physics, among them James Franck, co-winner of the 1925 Nobel Prize in Physics, and Max Born, who played a leading role in the development of quantum mechanics and won the 1954 Nobel prize in Physics.
In 1924, Born invited her to join his physics seminar, “with the result that her interests started to shift from mathematics to physics”, Sachs says.
Goeppert Mayer with King Gustav Adolf of Sweden after receiving her Nobel Prize. Credit: Smithsonian Institution Archives
Years later, he notes, she would say that she was proud to be the seventh consecutive generation of university professor on her father’s side.
In 1930 she received her PhD in physics. Sachs says her thesis, on the theoretical treatment of double photon processes, was described many years later by Nobel Prize-winning physicist Eugene Wigner “as a masterpiece of clarity and concreteness”.
Meanwhile, Joseph Mayer, an American chemical physicist, had come to Gottingen to work with Franck, and in 1930 he and Goeppert married. Not long afterwards, the couple moved to the US when Joseph was appointed an associate professor at Johns Hopkins University, in Maryland.
Here, however, nepotism rules prohibited the awarding of faculty appointments to both members of a married couple, so she worked as a volunteer and continued her own research when and where she could.
In 1939 Joseph was hired at Columbia University in New York; Maria was given office space and allowed to work but received no salary.
During World War II she participated in the Manhattan Project, at Columbia University and at Los Alamos with Edward Teller, on the development of the atomic bomb.
In 1946, Maria and Joseph moved to Chicago, where, as the Nobel biography says, her abilities as a scientist were fully recognised.
She was employed at the University of Chicago’s Institute for Nuclear Studies, and at Argonne National Laboratory, where she began working with Edward Teller on a project to determine the origin of elements.
An article published by the Argonne National Laboratory says it was during this time that “she developed a mathematical model for the structure of nuclear shells”, the work for which she was awarded the Nobel Prize, shared with J Hans D Jensen and Eugene Wigner.
“Goeppert Mayer’s model explained why certain numbers of nucleons in the nucleus of an atom cause an atom to be extremely stable – a phenomenon that had baffled scientists for some time. These numbers, dubbed ‘magic numbers’, represent the protons and neutrons arranged in shells in an atom’s nucleus.
In August 1948, her paper summarising the evidence for a shell model of the nucleus was published in the journal Physical Review.”
The following year, an article by the American Physical Society says, she refined her theory. “As she was sending her paper off to the Physical Review for publication, she became aware of a paper by Hans Jensen and colleagues, who had independently come up with the same result. She asked that her paper be delayed to be published in the same issue as theirs, though hers ended up being published in the issue after theirs, in June 1949.”
Goeppert Mayer and Jensen became friends and in 1955 wrote a book together on the nuclear shell model, Elementary Theory of Nuclear Shell Structure.
Goeppert Mayer was appointed to a full professorship at the University of California, San Diego in 1960, but suffered a stroke soon after. She never fully recovered and died on 20 February 1972.
Maria Goeppert Mayer: from nuisance to Nobel published first on https://triviaqaweb.weebly.com/
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J Hans D Jensen
June 25, 1907 – February 11, 1973
Johannes Hans Daniel Jensen was a German nuclear physicist. During World War II, he worked on the German nuclear energy project, known as the Uranium Club, in which he made contributions to the separation of uranium isotopes. After the war Jensen was a professor at the University of Heidelberg. He was a visiting professor at the University of Wisconsin–Madison, the Institute for Advanced Study, Indiana University, and the California Institute of Technology.
Jensen shared half of the 1963 Nobel Prize for Physics with Maria Goeppert-Mayer for their proposal of the nuclear shell model. [READ MORE]
Photo: Wikipedia
Source: Wikipedia
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Phase I/II study on kilovoltage surface brachytherapy in conjunctival cancer: preliminary results
Gustavo R Sarria, Gustavo J Sarria, Paola Fuentes Rivera, Mayer Zaharia, Solón Serpa and Mario Buitrago
https://ift.tt/2IGuo0M
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Working Title
How and why does animation manipulate information and the emotions and what are the implications of this?
Report Type
Extended Essay
Word count
5000
Background And The Research Question
The advertising industry has seen serious growth and is expected to continue growing with global spending projected to reach $557.99 billion by the end of the year (Statista, 2018). And within this industry there has been an upwards trend to use more and more animation, for example, from 2012 to 2013 there was 40% increase in the amount of businesses using animation (Animation Career Review, 2016). As a result of animation becoming extremely desirable in the market, the industry is the fourth highest in employing animators (Animation Career Review, 2016). This begs the question of why is animation seeing this kind of demand.
Whilst animation has been a part of advertising for a very long time, with the earliest example of an animated tv commercial often been considered the “Botany Lamb” series in 1941 (AdAge, 2003), one of the reasons for this recent growth, other than an increased demand in traditional TV marketing, comes from the internet, in particular social media. One study looking at 900 brands over 5 social platforms found that there was a 61.5% increase in spending on ads from 2016 to 2017 (Morrison, 2017) and other data claims social media advertising now makes up 34.5% of the digital advertising spending worldwide (Statista, 2018). One form in which this has materialised is through the relatively new medium of the animated infographic. Designed to translate data and ideas into easily digestible images, it embodies one of the factors I wish to investigate in the essay. Which is animations ability to simplify complex information in an appealing and memorable way.
I intend to outline and analyse theories, such as the picture superiority effect and the cognitive theory of multimedia learning, in order to try establish how visual imagery can be used to convey information more effectively than just words or audio. Then go on to contextualise it within the modern world of advertising looking at examples and data but also, contextualise it historically with instructional films created by Disney for the US and Canadian military in WW2. As an extension of this, if time and word count permit I may also compare the two in order highlight how the animation techniques have developed as the understanding behind the psychology of media has developed.
The second factor I intend to explore in my essay is closely linked to the first in that they are both used in tandem to create the largest impact on audiences. Animation can be utilised to manipulate the viewers emotions, guiding them to feel and perhaps even think differently and it’s this that I most want to legitimise through analysis of research like the paper “Emotion and Perception: The Role of Affective Information”, Zadra and Clore 2011. This factor will also be complimented and contextualised with research into animated propaganda and its effects; by breaking down particular propaganda films such as Der Fuehrer's Face, 1943, I hope to identify the theories and techniques which I will discuss throughout the essay in practise.
Another area of this I intend to explore is the use of subliminal messaging alongside the hypodermic needle theory and how it fits within the two subjects. And to conclude this segment of research I will then relate this back to animation in advertising, to hopefully demonstrate if and how the research and techniques are still applicable in modern works.
So to conclude, by looking at both historical instances of propaganda and modern examples of advertising I intend to identify how and why animation is effective at manipulating emotions and information through the analysis and application of psychology theories backed up with market data.
Overall Aims
To investigate the benefits of animation as a device for information communication.
To identify the psychology behind why animation is an appropriate medium for propaganda.
To analyse how both of the above factors are utilised within advertisement industry.
Research Methods
Research will consist of existing market data and industry stats for advertising and in particular animation in advertising, although I have found the statistics for animation in advertising to be significantly fewer than advertising as a whole. I don’t however, believe it’s too limited as not to serve my purpose. The second areas of research will be psychology journals, focusing on memory, emotion and perception. Aspects of concern with journals will be the validity of the studies themselves. I should bear in mind sample sizes, ecological validity, and if the studies have been replicated to ensure that my sources have merit. The last main area of research will be my own analysis of animated films, both propaganda and advertisements.
The main limitation of my research will be the reliance on secondary sources and my ability to find valid, relevant ones at that. In general, to avoid some of the issues with relying on secondary sources I will attempt to cross reference sources wherever possible. It is feasible that I could, however, carry out my own survey to obtain some information regarding how animation impacts viewers but I don’t think I could do it a scale large enough to be of any use, plus self-report style surveys tend to have issues with the validity of the information gathered.
Table of Contents
Introduction
Introduce the hypothesis that animation has the ability to do as the essay title suggests
Chapter one: Context
Outlining both the growth in advertising and the growth of animation within advertising
Chapter two: Contemporary examples and theories
Examine recent animated advertisements in relation to picture superiority effect and the cognitive theory of multimedia learning and then through this establish and analyse animations ability to manipulate information
Chapter three: Analysis of propaganda films
Examine Disney animations from WWII in relation to the relevant theories in order to establish and analyse animations ability to manipulate emotions with regards to contemporary examples
Conclusion
Conclude findings - application of the knowledge gathered
Bibliography
Potential Outcomes
The information gathered and analysed in the essay will hopefully lead to a better understanding of how to effectively use visual language in animation, mainly in the context of advertisement but ideally also, the theories could be extended into all areas of animation. The intent of this essay is for it to benefit my own understanding of animation but due to the research being quite broad and based in theory it should be applicable for any animator.
Bibliography
Adage.com. (2003). Animation. [online] Available at: http://adage.com/article/adage-encyclopedia/animation/98320/ [Accessed 8 May 2018].
Animationcareerreview.com. (2018). Animation in Advertising: How Important Is It? | Animation Career Review. [online] Available at: https://www.animationcareerreview.com/articles/animation-advertising-how-important-it [Accessed 8 May 2018].
Childers, T. and Houston, M. (1984). Conditions for a Picture-Superiority Effect on Consumer Memory. Journal of Consumer Research, 11(2), p.643.
Der Fuehrer's Face. (1943). [film] Directed by J. Kinney. United States: Walt Disney Productions.
Gavin, M. (2017). Influencing America through Animation – WWII Propaganda Cartoons: Part Three: Walt Disney | Inside the Magic. [online] Inside the Magic. Available at: https://insidethemagic.net/2017/01/influencing-america-through-animation-wwii-propaganda-cartoons-part-three-walt-disney/ [Accessed 8 May 2018].
Ívansson, K. (2011). Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America. [ebook] University of Akureyri. Available at: https://skemman.is/bitstream/1946/9520/1/Intersections%20of%20Modernity%20Nationalism%2C%20The%20History%20of%20Animation%20Movies%2C%20and%20World%20War%20II%20propaganda%20in%20the%20United%20States%20of%20America.pdf [Accessed 8 May 2018].
Mayer, R. and Moreno, R. (2002). Animation as an Aid to Multimedia Learning. [ebook] Plenum Publishing Corporation. Available at: http://ydraw.com/wp-content/uploads/2012/04/Stop-Motion-Aids-Multimedia-Learning.pdf [Accessed 8 May 2018].
Morrison, K. (2017). Social Media Advertising Spend Was Up 60% Year-Over-Year in Q1 (Report). [online] Adweek.com. Available at: http://www.adweek.com/digital/social-media-advertising-spend-was-up-60-year-over-year-in-q1-report/ [Accessed 8 May 2018].
Ovans, A. (2014). What Makes the Best Infographics So Convincing. [online] Harvard Business Review. Available at: https://hbr.org/2014/04/what-makes-the-best-infographics-so-convincing [Accessed 8 May 2018].
Sphancer, N. (2017). The Con of Propaganda. [online] Psychology Today. Available at: https://www.psychologytoday.com/us/blog/insight-therapy/201702/the-con-propaganda [Accessed 8 May 2018].
Statista. (2018). Digital advertising: social media spending share 2017 | Statistic. [online] Available at: https://www.statista.com/statistics/271408/share-of-social-media-in-online-advertising-spending-worldwide/ [Accessed 8 May 2018].
University of Twente. (2018). Mass Media | Hypodermic Needle Theory. [online] Available at: https://www.utwente.nl/en/bms/communication-theories/sorted-by-cluster/Mass%20Media/Hypodermic_Needle_Theory/ [Accessed 8 May 2018].
www.statista.com. (2018). Topic: Global Advertising Market. [online] Available at: https://www.statista.com/topics/990/global-advertising-market/ [Accessed 8 May 2018].
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beneath the cut , you’ll find random tidbits of info that i thought up at unholy hours of the night. took all day but tbh ..... this was therapy. i really said, “i’ll make my own damn self happy,” and it shows.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟎𝟏. › alicia marie levesque boyd-whitley.
► hobbies ➔ painting and decoration, primarily. for the most part, this is due to the nostalgia of doing it with her moms. she’s not awful at it, but she’s not van gogh levels of good, either. it’s just for fun, as all things should be. she’s also incredibly creative, so things like renovation ideas come easy to her. she did ballet for several years, but dropped it before she moved to beacon hills.
► social media handles ➔ she’s aleesha on just about everything.
► conventional or creative contact ids ➔ mostly conventional, with a series of emojis attached to every name.
► favorite color ➔ green. but sea foam-ish green.
► favorite video game ➔ animal crossing new horizons. she’s a simple bitch; she sees cute animals, she plays the damn game.
► favorite song ➔ style by taylor swift.
► favorite scent ➔ pumpkin spice! not to be totally cliché, but that scent is unbeatable. she has a million candles with that scent alone.
► favorite band/artist ➔ taylor swift, of course.
► favorite place to be ➔ nana’s house!
► favorite season ➔ winter! she had so much fun with lucy over this past winter and if that’s the way lucy acts every year for christmas, then alicia looks forward to it!
► favorite word ➔ squishy.
► favorite meme ➔ maybe so.gif
► if they were an animal ➔ cheetah!
► if they were a color ➔ beige. no longer the pure white she once was, but not the tar pit that she could have been, either. a beautiful mixture of purities and imperfections.
► if they were a vine/tiktok ➔ *going through the five stages of grief* HHHHHHHHH !!!!! someone just slid in my dms and *voice cracking* this is what they said.... *sobbing* gIRL.... *sniffle* HNNNNNN..... you should sell hoT DOGs.... ‘cause you know how to make a weiner stand. hNNNNNN.... HNNNNN!!!!!!
► if they were a taylor swift song ➔ shake it off.
► aesthetic ➔ paint-stained overalls, tear tracks covered in glitter and flower petals, crooked fingers snagging the last slice of pizza out the box, thick-framed glasses with the lens popped out, it’s for the aesthetic, sharpie’d converse kicks and open hearts doodled onto the palm of your hand –– darling girl, someone will really love you one day.
► motto ➔ “it really do be like that sometimes.”
► theme song ➔ lights up by harry styles.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟎𝟐. › amari rose kent.
► hobbies ➔ writing, mostly out of spite. in middle school, she had a meeting with the principal, during which he told her she was at risk of being expelled, due to how many teachers had issues with her. this was the same principal who told her she would never get anywhere, hanging off of tate’s coattails, so she wrote a 50-page paper in the span of one week, shaming the school for its discrimination and unethical practices when it came to students. instead of giving the paper to the principal, she submitted it to the board of education and got the man fired. not only did the essay make it onto local news, it also got her a scholarship to devenford prep; lucky, since tatum had already been offered a scholarship and was on the verge of turning it down because she wouldn’t go without amari. though she hasn’t spitefully written anything that huge since, she is still not afraid to thinkshame. also dabbles in poetry and collage-making.
► social media handles ➔ amari_rose on twitter and instagram. she surprisingly does not have a snapchat!
► conventional or creative contact ids ➔ conventional. at best, she’s giving nicknames.
► favorite color ➔ black.
► favorite video game ➔ she doesn’t play video games, so she doesn’t know.
► favorite song ➔ bad guy by billie eilish.
► favorite scent ➔ not to kinkshame, but.... leather.
► favorite band/artist ➔ billie eilish, she is not ashamed!
► favorite place to be ➔ wherever tate and owen are, honestly.
► favorite season ➔ summer.
► favorite word ➔ bullshit.
► favorite meme ➔ thA’TS MY OPINION !!!!
► if they were an animal ➔ panther.
► if they were a color ➔ silver. black is a hard color to obtain and she hardly comes close. she’s got all the darkness she doesn’t need, but the world put that in her. still, she’s close to light, too; close to breathing in sunlight.
► if they were a vine/tiktok ➔ to the mIDDLE SCHOOL TEACHER –– yes, YOU, you know who you are –– who said EYE would never be shit, LOOK AT ME NOW, WHORE ! LOOK AT ME NOW .... not shit. and HOW YOU LIKE IT ? *twerks belligerently*
► if they were a taylor swift song ➔ sad beautiful tragic.
► aesthetic ➔ messily chopped hair in the bathroom sink, tongue poked out to lick ketchup off of nimble fingers, rushed words in a lost diary, a bottle drifting out at sea, cigarette smoke and tequila-coated daydreams, harsh breaths in and out and in and out, bruised knuckles and bleeding lips, we’re not done here.
► motto ➔ “chin up, chest out.”
► theme song ➔ all the good girls go to hell by billie eilish. alternatively, kiwi by harry styles.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟎𝟑. › camden wesley layton lahey.
► hobbies ➔ he took up woodworking a few years back. therapy and whatnot. he likes making little birds and figurines out of wood, keeps a box of them in his nightstand.
► social media handles ➔ he’s not on social media! he’s old, leave him alone.
► conventional or creative contact ids ➔ very conventional. again, he’s old, leave him!
► favorite color ➔ grassy green.
► favorite video game ➔ he’s always going to be a sucker for mario party. that game is unfairly frustrating, but he would ride or die for it.
► favorite song ➔ i of the storm by of monsters and men.
► favorite scent ➔ peppermint! it used to make him sick, because it’s such a strong smell, but it’s now his absolute favorite thing in the world.
► favorite band/artist ➔ gorillaz.
► favorite place to be ➔ he honestly prefers closed spaces? tight spaces where he can see every corner, every entrance, every exit, every tile on the floor. whenever he starts panicking, he will sneak away to the nearest closet or something.
► favorite season ➔ spring. rebirth, babyyy.
► favorite word ➔ dammit.
► favorite meme ➔ it’s free real estate.
► if they were an animal ➔ german shepard.
► if they were a color ➔ light pink. this strange mix between the pure white of being a blank slate and the awful red of having spilled more blood than he can even remember.
► if they were a vine/tiktok ➔ AWWWWWWW 😍😍 awww, i’m gonna die alone 🤗🤗🤗 awww !!! i’m never gonna know what it’s like to be LOVED, AWWWWWW !!!!
► if they were a taylor swift song ➔ holy ground.
► aesthetic ➔ sweat-dotted skin, racing heart, jingling dog tags, checking the locks on the door once and then again and then again and once more just to be sure, hesitant hands and wet eyes, a smile that’s easy even when nothing else is, sunlight pouring in through a cracked window, a step closer to an answer, five steps back.
► motto ➔ “sure, jan.”
► theme song ➔ clint eastwood by gorillaz.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟎𝟒. › charles gerard argent.
► hobbies ➔ someone should tell him that working out isn’t a personality trait, but it really is his hobby. your depression can’t catch up to you, if you’re getting these gainz.
► social media handles ➔ he’s charliecharlie on everything, because he’s funny.
► conventional or creative contact ids ➔ it used to be creative, but man, that depression hit him hard and he switched to conventional.
► favorite color ➔ white.
► favorite video game ➔ fortnite, shut the fuck up, liam, he doesn’t want to hear it.
► favorite song ➔ perfect ruin by kwabs.
► favorite scent ➔ salt water.
► favorite band/artist ➔ clairo.
► favorite place to be ➔ at the beach. he takes frequent drives up to the closest beach,
► favorite season ➔ summer. beach time! all the time!
► favorite word ➔ yeet.
► favorite meme ➔ y E E T.
► if they were an animal ➔ raven.
► if they were a color ➔ a myriad of colors; there are so many facets to charlie and until he figures out exactly where he is in life, he’s going to keep creating a puddle of colors.
► if they were a vine/tiktok ➔ *dancing and singing to the tune of under the sea* ptsd 🤪 anxiety 🤪 crippling depression, there is no question, you should kill me !! let me be with HARAMBE 😤✊ i feel like shit every day ! i’m asking nicely, do it by drowning, under da sea 🌊🌊
► if they were a taylor swift song ➔ getaway car.
► aesthetic ➔ that damnable water’s edge, the view from the top of a mountain, gnawed fingernails and scraped skin, 11:11 and back again, holstered knives and picturesque smiles, droplets of blood spilled into cold coffee, palm grazing the door to happiness but not quite opening it yet ––– another day and you might just make it.
► motto ➔ “que ce sang protège ceux qui ne peuvent se protéger.”
► theme song ➔ broken bones by kaleo.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟎𝟓. › cora vienna hale.
► hobbies ➔ lowkey has a love of mechanics. she doesn’t trust anyone else to repair her bike, so she learned how to do it herself. also learned how to fix cars, because scott is always messing his up. also still plays soccer when she has the time.
► social media handles ➔ she’s just corahale on everything. it’s more “professional” than what she had before. which was... a series of expletives that made lydia blush.
► conventional or creative contact ids ➔ conventional, unless she really hates you. then she can get creative.
► favorite color ➔ black.
► favorite video game ➔ detroit: become human.
► favorite song ➔ hold on just a little while longer from d:bh. luther snapped.
► favorite scent ➔ pinecones.
► favorite band/artist ➔ bryson tiller.
► favorite place to be ➔ the hale house. it feels good to be able to go there again and not be assaulted with all of the reminders of what she lost.
► favorite season ➔ winter.
► favorite word ➔ buttercup. look her in the eye and tell her it’s not the cutest word you’ve ever heard. exactly, you can’t.
► favorite meme ➔ looks into the camera like she’s on the office.
► if they were an animal ➔ lion.
► if they were a color ➔ gold. pure and beautiful; maybe not innocent, maybe not for everyone. but royal and bold and unrelenting.
► if they were a vine/tiktok ➔ sO... .i just went to starbucks and i got my iced coffee and i was standing in line and these little girls were looking at me. *sniff* and i was like, “okay, funny joke.” so i, um, i’m s–– i’m waiting for my coffee, uh, at starbucks, and these other little girls were just, like, LOOKING AT ME and they kept on staring and then this DAD kept on looking and then he kept on staring. and *uncomfortable laughter* ....... *more laughter* ..... *turns on music* *keeps laughing* *turns music off* what kind of sick fucking joke ? .... *uncomfortable shrugging* ...i EXIST ? *more laughter*
► if they were a taylor swift song ➔ clean.
► aesthetic ➔ a horrid red fire meets a river of blue, gasoline stains on faded tees, an unexpected smile on a rainy day, the way the forest breathes after a rainstorm, skintight dresses and haughty gazes, a smirk that rests for no one, the innocence of a white wolf in a prom dress.
► motto ➔ “flectere si nequeo superos, acheronta movebo.”
► theme song ➔ big god by florence and the machine. alt. the man by taylor swift.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟎𝟔. › daniel nahele mahealani.
► hobbies ➔ he no longer loves hacking or music, because... whew, high school killed everything he cared about. mostly sticks to being lydia’s dress up doll.
► social media handles ➔ he’s d-annyboy on all things, because it’s easy!
► conventional or creative contact ids ➔ conventional, unless he’s trying to hide something from jackson and lydia. lydia is not afraid to go through his phone, which he genuinely doesn’t mind, that’s why she knows all of his passwords and stuff. but he does not need her to know how many guys he’s fucked that she didn’t like, he’s not here for the lectures.
► favorite color ➔ red.
► favorite video game ➔ wii sports still outsells, he is not taking criticism or debate on this topic.
► favorite song ➔ magic in the hamptons by social house.
► favorite scent ➔ hot chocolate.
► favorite band/artist ➔ childish gambino.
► favorite place to be ➔ at the risk of being gay, wherever theo is.
► favorite season ➔ autumn.
► favorite word ➔ pack. he loves feeling loved, sue him.
► favorite meme ➔ kermit spreading his asshole.
► if they were an animal ➔ elephant.
► if they were a color ➔ orange; just on the cusp of happiness, but always holding back.
► if they were a vine/tiktok ➔ hEY GUYS, i’m just really co–– really confused, ‘cause what does fall have to do with fuckboys 🧐🤔 ‘cause I’VE been fucking boys .... EVERY MONTH, winter, fucking februarymarchaprilmay, june, december... dULY ... *someone taps on the trunk of the car* *looks back* ...that’s my dad *frantic zoom-in*
► if they were a taylor swift song ➔ afterglow.
► aesthetic ➔ scar-littered skin and callused hands, abandoned hobbies and hopes and dreams, all stashed to the back of the infamous closet, dimples cheeked and optimistic eyes, high school jerseys folded in the drawer, letterman jackets treated like sacrosanct, the memory of when things were simpler and the rain didn’t last so long.
► motto ➔ “this could be worse.”
► theme song ➔ clementine by halsey.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟎𝟕. › derek alexander hale.
► hobbies ➔ book collecting. as their lives continue to not make sense, he collects books on any and every odd ‘myth’ out there and just waits for the day it comes in handy.
► social media handles ➔ lydia has made him dhale on everything, because he’s boring.
► conventional or creative contact ids ➔ very conventional. he now has a lock on every app in his phone, because fiona and lydia will happily break into his phone to change his contacts, if he’s not careful.
► favorite color ➔ black.
► favorite video game ➔ he doesn’t often play video games, but he will school these youngsters in a game of yahtzee!
► favorite song ➔ when doves cry by prince.
► favorite scent ➔ something baking in the oven.
► favorite band/artist ➔ prince. no, he is not talking about it.
► favorite place to be ➔ the hale house, when the entire pack is there. close second is the loft, when everyone is there. he’ll complain until he’s blue in the face, but everyone knows he’s secretly weak for that.
► favorite season ➔ winter.
► favorite word ➔ no.
► favorite meme ➔ blinking white guy.
► if they were an animal ➔ i... a wolf.
► if they were a color ➔ tree bark brown; steady and stern and stable.
► if they were a vine/tiktok ➔ *standing at the bathroom door, glaring* if it breaks. one more time. don’t ––– shut your mouth. if it breaks while i’m sleeping, i will grab you by the neck and shove you down the shower drain. *continues to glare* ......... i’m going to take my shower now. *slowly and threateningly closes the door*
► if they were a taylor swift song ➔ daylight.
► aesthetic ➔ shattered handcuffs, ashes spread across the floor, delayed inhales and painful exhales, a pool of flowers at your feet ––– begin again.
► motto ➔ “no.”
► theme song ➔ sinnerman by nina simone.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟎𝟖. › dominic joseph kim.
► hobbies ➔ yoga, meditation, brewery, skin and haircare routines, and swimming! a king stays busy.
► social media handles ➔ he’s domkimi on snapchat, instagram and twitter, but he’s baddiebbarbietingz on reddit. he has a tumblr account, but he refuses to tell the pack what his username is.
► conventional or creative contact ids ➔ creative. feel free to look through his phone, but good fucking luck figuring out who is who.
► favorite color ➔ gold.
► favorite video game ➔ sims 4. he gets the chance to actually build a sustainable life? with a family? in a house? with cheat codes? and love? and aliens? and lovers who become plants? sign him the fuck up.
► favorite song ➔ would you mind by prettymuch. good form by nicki minaj is a close runner-up. ‘cause he do, in fact, be the baddie b barbie tingz banging body b, everybody be on his d, cause he gotta be in reality––
► favorite scent ➔ pizza! if it’s not good for you, why does it smell so good? make it make sense.
► favorite band/artist ➔ prettymuch.
► favorite place to be ➔ tate’s lab! it’s where he and owen do most of their brewing, aside from their field trips to the greenhouse to get more ingredients. it’s basically where dominic does his best and calmest work. close second is his own apartment, because he does yoga in the living room each morning.
► favorite season ➔ summer.
► favorite word ➔ cecelia.
► favorite meme ➔ who said that.gif.
► if they were an animal ➔ a turtle! specifically, one of the turtles from finding nemo.
► if they were a color ➔ blue. calm and collected.
► if they were a vine/tiktok ➔ so i said i’m a switch on tiktok, right ? and now all these ladies are comin’ out of the woodwork like, “hey, i got a strap-on and a dog collar with your name on it ! ” 😳😳 and i’m like... you put my name on it ? 😍👉👈 /// alternatively: theee necklace my boyfriend bought me just came in the mail *zoom in on necklace* ....I’M my boyfriend ! i bought this for myself ! EEE *excited grin*
► if they were a taylor swift song ➔ style.
► aesthetic ➔ the push and pull of a tidal wave, a dash of eyeliner here and a bit of mascara there, collared shirts and wrinkled jeans, overrated pop over a bluetooth speaker, a fascination with milkshakes and musicals, a heart that beats out of rhythm but never misses a step.
► motto ➔ “the birds work for the bourgeoisie.”
► theme song ➔ good thing by zedd and kehlani.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟎𝟗. › elliot james aldridge.
► hobbies ➔ aside from his bathtub poetry and crime, he has revived his love of cooking and music. is masterful at the piano, guitar and harp, dabbles in cello and flute. he likes his music pretty, okay, sue him.
► social media handles ➔ redacted by the fcc.
► conventional or creative contact ids ➔ depends on how much he likes you! if you’re kosher, you get a creative name. if not... you get your own name.
► favorite color ➔ blood red. unironically.
► favorite video game ➔ he’s a poker man, but if he has to choose a video game, meet him in super smash brothers.
► favorite song ➔ say so by doja cat.
► favorite scent ➔ blood.
► favorite band/artist ➔ hozier.
► favorite place to be ➔ no offense, but the french quarter in new orleans.
► favorite season ➔ summer.
► favorite word ➔ self-care.
► favorite meme ➔ why would you say something so controversial, yet so brave?
► if they were an animal ➔ hyena. one of the asshole ones from lion king.
► if they were a color ➔ red. he’s not hiding that.
► if they were a vine/tiktok ➔ i’m not falling, i’m not falling, i’m not falling, i’m not falling, i’mnotfallingi’mnotfallingi’mnotfalling, i’m not f a l l i n g, i’m not FALLING, i’m not falling, i’m not falling, i’m not fALLING....... !! *deep breath* oKAY, i’m falling. /// alternative: the oNLY reason i have not destroyed the world is because i have not had ice cream in a while, i want some ice cream. but tRUST ME, when i get some ice cream ? your ass is grass and i’m the lawn mower !
► if they were a taylor swift song ➔ ready for it?
► aesthetic ➔ a hoop of sterling silver, initials carved into dying trees, tempting eyes and a charming smile, cufflinks left on the nightstand, a prison cell and a funny story, top three buttons left undone, far too aware for his own damn good.
► motto ➔ "excuse me, i'm new in town and it gets worse."
► theme song ➔ sunlight by hozier.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟎. › erica juliet reyes.
► hobbies ➔ tracking deucalion and peter, for one thing, but that’s more of a job than anything else. does raving count as a hobby? she’s officially taken up rock climbing, by the way. a huge slap in the face to her epilepsy.
► social media handles ➔ she changes her handles frequently, because she’s indecisive, she can’t decide–– but she’s currently reyofsunshine on everything. shoutout to fiona.
► conventional or creative contact ids ➔ creative and often explicit!
► favorite color ➔ sand brown, don’t @ her.
► favorite video game ➔ until dawn. understand the palm of my hand, bitch.... jesus hot sauce christmas cake.... what were you tweeting, hashtag there’s a freaking ghost after us? your fave could never!
► favorite song ➔ hot girl bummer by blackbear.
► favorite scent ➔ lucy or fee’s baking. she’ll come home just for that.
► favorite band/artist ➔ blackbear.
► favorite place to be ➔ at a party. she’s very into raves.
► favorite season ➔ summer.
► favorite word ➔ motherfucker.
► favorite meme ➔ respect the drip, karen.
► if they were an animal ➔ a horse. enticingly beautiful but will also kill you.
► if they were a color ➔ gold. not as pure as cora’s gold, but twice as inviting.
► if they were a vine/tiktok ➔ all i’m gonna say is that i didn’t take ap classes in high school, escape the friend zone, graduate with honors, get cheated on, go to college, mentally deteriorate, become addicted to nicotine, sign a year lease, drop a sorority, fail chemistry and dye my hair purple, just to cry over the frat boy leaving me on read that smokes weed for breakfast, lunch and dinner 💁🏼
► if they were a taylor swift song ➔ false god.
► aesthetic ➔ push-up bras covered in black lace, smeared lipstick against the bathroom mirror, jeans that leave nothing to the imagination, a wolf that lies in wait and fears no god, the epitome of poison.
► motto ➔ “meanwhile, back at the ranch...”
► theme song ➔ needed me by rihanna.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟏. › fiona evelyn porter.
► hobbies ➔ baking, pinterest, cheer, volleyball and softball. truly depends on the season.
► social media handles ➔ feezypeezyporter stays true to her brand.
► conventional or creative contact ids ➔ creative! her contact ids are indecipherable, the only people who can understand them are katie and cass. dom gave up.
► favorite color ➔ light green and light pink!
► favorite video game ➔ beat saber!
► favorite song ➔ love again by carly rae jepsen.
► favorite scent ➔ is.... is it gay to say cass?
► favorite band/artist ➔ carly rae jepsen.
► favorite place to be ➔ the loft! it really is her happiest place. alternatively, wherever cass is, ‘cause that’s home, babey!
► favorite season ➔ spring! baby sticks to her brand.
► favorite word ➔ braggadocio. how on EARTH is that a real word?
► favorite meme ➔ let me see what you have. a kNIFE! NO!
► if they were an animal ➔ cardinal.
► if they were a color ➔ green. the color of grass, covering everything, everything, everything.
► if they were a vine/tiktok ➔ *crying and sipping tea* it... is ver .... very b... bold of you to assume ............. ! *pained smile* /// alternatively: ONE OF YOU FAT BITCHES UNFOLLOWED ME !!! *manic laughter* i’m not mad, but like...... *climbs onto bathroom sink and leans in very close* what was the last straw ?
► if they were a taylor swift song ➔ me!
► aesthetic ➔ bare lips passing over green leaves, a lullaby to a struggling orchid, spanks and sweat drops and a desperate need for approval, a digital scale blinking red numbers back at you, pills of white and blue and yellow, maybe tomorrow you’ll be happy again.
► motto ➔ “team work makes the dream work!”
► theme song ➔ work this out from the high school musical 2 soundtrack.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟐. › hayden louisa romero.
► hobbies ➔ she has a love of sports. got into lacrosse before her imprisonment, though she was a little too fragile to play a real game. was a soccer star as a kid. also puts on glamour shows for the kids and the dogs, if they ask.
► social media handles ➔ she doesn’t have social media. imprisonment tingz.
► conventional or creative contact ids ➔ conventional. at best, you get an emoji or two at the end of your name.
► favorite color ➔ ocean blue.
► favorite video game ➔ will forever be weak for pokémon.
► favorite song ➔ 1985 by bowling for soup. timeless.
► favorite scent ➔ french vanilla.
► favorite band/artist ➔ she’s getting into melanie martinez.
► favorite place to be ➔ bias goes to being with the ito pack, but the preserve is pretty much paradise.
► favorite season ➔ winter.
► favorite word ➔ covenant.
► favorite meme ➔ and i oop–––
► if they were an animal ➔ manta ray. harmless babey.
► if they were a color ➔ prism clear. a maze of reflections, but so fucking breakable.
► if they were a vine/tiktok ➔ you mess with ME ? w ..... ! y...... ! *vague hand movements* you probably aren’t gonna experience any problems, because i’m afraid of confrontation !! /// alternative: *struggling to place lamp inside of another lamp* i JUST TOOK A TEN HOUR NAP ??? *panic*
► if they were a taylor swift song ➔ it’s nice to have a friend.
► aesthetic ➔ scars lifted among tanned skin, wary glances to read every room, crop tops floating above your belly, a lack of cares for a world that cares a little too much, marked skin and glossed lips, wanna make a deal with an angel?
► motto ➔ “my priority is me.”
► theme song ➔ i know by pink sweat$.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟑. › judith wendy mayer-argent.
► hobbies ➔ biking! she does it primarily for work, but she also does it for fun. also, huge gamer. and protestor. baby keeps busy.
► social media handles ➔ mayerjude. she can make so many jokes out of her own last name, don’t tempt her.
► conventional or creative contact ids ➔ creative! unless it’s someone important or authoritative. then they get their own name.
► favorite color ➔ sunshine yellow.
► favorite video game ➔ fornite.
► favorite song ➔ sunday candy by donnie trumpet and the social experiment.
► favorite scent ➔ cupcakes! the frosting! the delicacy!
► favorite band/artist ➔ maroon 5.
► favorite place to be ➔ in the middle of a protest, rally or march. if she’s not in action, then what is she doing?
► favorite season ➔ spring.
► favorite word ➔ audit.
► favorite meme ➔ surprised pikachu.
► if they were an animal ➔ dolphin.
► if they were a color ➔ sunset orange. no, i will not elaborate.
► if they were a vine/tiktok ➔ *walking down the street* so we were peer reviewing papers in one of my classes aaaand this girl goes, “you use some FANCY LANGUAGE ! ” and i was like, “what word ? ” and she was like, “perpetuate.” .........on GOD, we gon’ get you a dictionary.
► if they were a taylor swift song ➔ don’t blame me.
► aesthetic ➔ sunflowers pushing up from freshly dug graves, a smile away to keep the doctors away, sprained wrists wrapped in inappropriate laughter, bruised knuckles and black eyes, drink in hand, swinging your hips to that voicemail left by your toxic ex-boyfriend.
► motto ➔ “just keep swimming, just keep swimming, just keep swimming, swimming, swimming...”
► theme song ➔ modern love by david bowie.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟒. › kali kaira laghari.
► hobbies ➔ knitting. she has abandoned all of her self-care and therapy ideals, now knits and talks to ghosts. mind ya business.
► social media handles ➔ she’s not on social media, either.
► conventional or creative contact ids ➔ conventional. she has no times for games.
► favorite color ➔ red. she’s a scorpio, what do you expect?
► favorite video game ➔ not to be controversial, but she’ll take mortal kombat any day.
► favorite song ➔ nintendo game by alessia cara.
► favorite scent ➔ tea!
► favorite band/artist ➔ alessia cara.
► favorite place to be ➔ aside from wherever rohan is, she prefers the bookstore. confrontations aside, it’s a very small space, quiet and relaxing.
► favorite season ➔ winter.
► favorite word ➔ goddess. and yes, for exactly the reason you think.
► favorite meme ➔ as a treat.
► if they were an animal ➔ scorpion.
► if they were a color ➔ smoky grey. everything’s a little hazy with this one.
► if they were a vine/tiktok ➔ *staring at the food on the table, slowly losing her mind while everyone else argues over murder* *holds head in hands* *bangs hands on table repeatedly, screaming* WHAT ARE WE THANKFUL FOR !!!
► if they were a taylor swift song ➔ i did something bad.
► aesthetic ➔ cross-legged sitting in the middle of the road, waiting for a new thrill, fingertips grazing the harsh blade beneath your skirt, popcorn and wine with a man you could’ve loved if you were both a little less fucked up, a question that should never be answered, a world-view that should never be defiled –––– and you did it all.
► motto ➔ “i don’t need permission or advice; just help.”
► theme song ➔ simmer by hayley williams. you should see me in a crown by billie eilish.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟓. › kira fuyuko yukimura.
► hobbies ➔ she trains to keep herself calm. often talks with her fox nowadays; she wants to build trust. and given that kira is doing fuck all to deal with her issues, she needs someone to talk to her. she and her fox get along a lot better these days. she also runs, practices lacrosse maneuvers on her own and plays with lightbulbs.
► social media handles ➔ she’s a simple woman: kyuki. cut the fluff, cut the extraness. also, kyuki is what she’s named her fox.
► conventional or creative contact ids ➔ conventional, save for people who warrant a creative one. aka those whose names she doesn’t know. you would be surprised at how many there are.
► favorite color ➔ purple.
► favorite video game ➔ also a fan of animal crossing!
► favorite song ➔ ahead of myself by the ambassadors.
► favorite scent ➔ cinnamon.
► favorite band/artist ➔ the ambassadors.
► favorite place to be ➔ it’s dorky to say, but she likes being with her parents! they’re still in new york, so she doesn’t get that chance as much. however, her second favorite place to be is.... her bed.
► favorite season ➔ autumn.
► favorite word ➔ poppy.
► favorite meme ➔ guess i’ll die.png
► if they were an animal ➔ truly a fox.
► if they were a color ➔ steel blue. baby is electric.
► if they were a vine/tiktok ➔ i might be a BIG, DUMB, GAY BITCH ................ !! *smirks at camera*
► if they were a taylor swift song ➔ cruel summer.
► aesthetic ➔ a thunderstorm in your bedroom, leather gloves pulled over dainty hands, quick footwork and sly gazes, untied shoe laces dragging across the floor, leggings beneath skirts, quiet meditation before bed, sharp teeth poking into bruised lips.
► motto ➔ “yeah, this isn’t weird at all.”
► theme song ➔ fall in line by christina aguilera and demi lovato.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟔. › liam stephen dunbar.
► hobbies ➔ lacrosse no longer counts as a hobby, considering he made it his entire life. does training with allison count as a hobby? does texting gwen bad jokes count? ‘cause that’s all he does, my guy.
► social media handles ➔ he’s dvnbcr on everything.
► conventional or creative contact ids ➔ conventional, until fiona gets her hands on his phone and changes his ids again.
► favorite color ➔ red.
► favorite video game ➔ he’s that guy who plays all of the 2k nba games. like, he has to stan.
► favorite song ➔ i don’t care by fall out boy.
► favorite scent ➔ turf. he’s a loser, what do you expect?
► favorite band/artist ➔ fall out boy and kendrick lamar are tied.
► favorite place to be ➔ the lacrosse field. he does not stray from his brand.
► favorite season ➔ autumn. lax season!
► favorite word ➔ shit. fuck is a close runner-up.
► favorite meme ➔ i’ve won.... but at what cost?
► if they were an animal ➔ rhinoceros.
► if they were a color ➔ gray; that perfect intersection between white and black, good and bad, wolf and bomb.
► if they were a vine/tiktok ➔ *talking to his mom while she’s watching tv.* hey, mom? will you pause that? you know that guy i’m talking to is 6′4″? can’t wait to get my shit wrecked. so you are a bottom. ...wait. okay, i.... that’s not what you’re supposed to say! what am i supposed to say? don’t –– not that! *goes to sit next to her* i’m 👏 not 👏 a 👏 bottom 👏. bullshit. *confused look of betrayal* is this legal? have you ever done anything for anybody else? no, you’re a taker. /// alternatively: *trying to start a fire* hope so ! you gonna let the fire breathe or you gonna fuckin’ suffocate it ? i will end your goddamn short ass piece of shit useless life.
► if they were a taylor swift song ➔ this is why we can’t have nice things.
► aesthetic ➔ a rage that you can never quite tame, hand broken from too many punches, the green of fresh cut grass, car mileage piling up, miles and miles and miles left to go, bashful smiles and reddened skin. kid, you’re not nearly as bad as you think you are.
► motto ➔ “i blame scott.”
► theme song ➔ dr. whoever by aminé.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟕. › lydia charlene martin.
► hobbies ➔ sewing clothes, throwing parties, picking up new languages, ruling the world, saving this pack from falling apart, doing everything in this goddamn house!
► social media handles ➔ queenlydia, but who’s surprised?
► conventional or creative contact ids ➔ convention meets creativity in lydia’s phone. everyone has their first name, with a lord/lady/duke/duchess/etc. attached to it. jackson is the only one with king, obviously. you know you’re in trouble when she attaches peasant to your name. good luck climbing your way back up the ladder.
► favorite color ➔ pink.
► favorite video game ➔ not to be controversial, but dead by daylight is that bitch.
► favorite song ➔ honey by kesha.
► favorite scent ➔ strawberries.
► favorite band/artist ➔ kesha.
► favorite place to be ➔ in jackson’s arms, she is not taking that back.
► favorite season ➔ winter.
► favorite word ➔ throne and jackson are tied.
► favorite meme ➔ why are you booing me? i’m right!
► if they were an animal ➔ swan.
► if they were a color ➔ purple. royalty is not a game, kids.
► if they were a vine/tiktok ➔ not a vine or tiktok, but yes, it’s me 💅🏽 & you guys are mad about it ohmygod i make y’all feel that 🤢 well, i just wanted to pop up here & show y'all how i'm doing ! i'm doing great. i'm looking great, i'm feeling great, y'know 💇🏽 i'm obviously over here very booked & busy, while you bitches over here are still looking raggedy & not doing shit ! hahaha ! WOW ! 💁🏽 but anyway, um, i just wanted to let y'all know i'm not going anywhere. so talk your shit, you shitholes ! you can't defeat a bad bitch ! you just cannot do that ! i rise above that ! EW 🤮 so i just wanted to say hey ! & that i'm here to stayyy ! & you gon' be mad everydayyy ! HAHAHA ! SUCCESS !
► if they were a taylor swift song ➔ paper rings.
► aesthetic ➔ a crown that fits just perfect, newly manicured nails, breakfasts at tiffany’s and on decorated balconies, the picture on the altar, damp curls and loose braids, tight dresses and sinful heels, brave but never fearless.
► motto ➔ “i’m lydia fucking martin.”
► theme song ➔ okay, okay by alessia cara.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟖. › scott lucas mccall.
► hobbies ➔ video games! he also likes helping the pack renovate whenever they decide to. though he has put fiona on a limit. after she redesigned her room five times in two weeks, he finally had to put his foot down.
► social media handles ➔ he is the most disorganized of the bunch. he’s scootermccall on snapchat, scottymccall on instagram, scotthewmccall on twitter because he’s weak for whatever fiona asks. it’s a mess, but he’s not changing.
► conventional or creative contact ids ➔ conventional, but with lots of emojis to show he cares.
► favorite color ➔ red.
► favorite video game ➔ he wants to say mario kart, because that’s his and lucy’s thing and, um, he’s in love with her. but other than that! life is strange. he hasn’t figured out how to win yet, but gosh dammit, that’s not going to stop him from trying.
► favorite song ➔ dna by lia marie johnson.
► favorite scent ➔ lucy’s perfume!
► favorite band/artist ➔ panic! at the disco.
► favorite place to be ➔ at the vet! he’s so happy when he’s around animals and it feels good to know that he’s helping these animals get better?
► favorite season ➔ summer.
► favorite word ➔ lucy.
► favorite meme ➔ i’ll be honest, i can’t read.
► if they were an animal ➔ golden retriever.
► if they were a color ➔ yellow. speaks for itself.
► if they were a vine/tiktok ➔ i had an essay that was due at 11:59. instead of being a smart, responsible student, i decided to wait until 11:40 .... to START my essay. i finished the essay on time. but the gag is............. it was a five-page essay. and i got it done in sixteen minutes. *dancing* they gon’ hate me regardless, that’s why i do what i do
► if they were a taylor swift song ➔ state of grace.
► aesthetic ➔ a lighthouse drawing in the lost, the open door of a sunken ship, wrongly buttoned plaid shirts, clumsy fingers and stumbling feet, saddened eyes that follow healing hands, the suspension of disbelief ––– whatever that means.
► motto ➔ “everything will work out!”
► theme song ➔ only the young by taylor swift.
𝐏𝐀𝐓𝐈𝐄𝐍𝐓 𝐅𝐈𝐋𝐄 𝟎𝟎𝟏𝟗. › tatum coretta bellfleur.
► hobbies ➔ nanotech mechanics! she learned as a way to make things for owen and amari that they couldn’t afford to buy. won a few competitions, got a few scholarships, got into programs that taught her how to do greater things than she’d ever imagined. took up baton twirling at devenford, but gave it up when she got to college. fiona is trying to convince her take it up again next year.
► social media handles ➔ she’s tatertot on everything, courtesy of one judith mayer.
► conventional or creative contact ids ➔ conventional. keep it simple, thanks.
► favorite color ➔ silver! it’s so pretty.
► favorite video game ➔ death stranding. no, she will not elaborate.
► favorite song ➔ mo money mo problems by notorious b.i.g.
► favorite scent ➔ flowers!
► favorite band/artist ➔ tupac. yes, she is that bitch.
► favorite place to be ➔ her lab.
► favorite season ➔ winter.
► favorite word ➔ free.
► favorite meme ➔ you know i had to do it to ‘em.
► if they were an animal ➔ doe.
► if they were a color ➔ white. no matter how much she hates being protected, she’s the picture of purity.
► if they were a vine/tiktok ➔ *sitting in front of a mirror.* maybe.......... i’m the problem 🤨
► if they were a taylor swift song ➔ out of the woods.
► aesthetic ➔ a blanket of snow covering the grime and pain of yesterday, contained explosions and soft humming, tight ponytails breaking cheap rubber bands, tongue poking out the side of your mouth, the sun peeking through the slits of your blinds, wondering where you’ve been these last couple’a days.
► motto ➔ “i’ve lived through this before, i’ll live through it again.”
► theme song ➔ 100 years by florence and the machine.
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Bevacizumab in temozolomide refractory high-grade gliomas: single-centre experience and review of the literature.
Bevacizumab in temozolomide refractory high-grade gliomas: single-centre experience and review of the literature. Ther Adv Neurol Disord. 2018;11:1756285617753597 Authors: Jeck J, Kassubek R, Coburger J, Edenhofer S, Schönsteiner SS, Ludolph AC, Schmitz B, Engelke J, Mayer-Steinacker R, Lewerenz J, Bullinger L Abstract Background: Despite multidisciplinary treatment approaches, the prognosis for patients with high-grade glioma (HGG) is poor, with a median overall survival (OS) of 14.6 months for glioblastoma multiforme (GB). As high levels of vascular endothelial growth factor A (VEGF) are found in HGG, targeted anti-antiangiogenic therapy using the humanized monoclonal antibody bevacizumab (BEV) was studied in a series of clinical trials. Still, the discrepancy of BEV's efficacy with regard to initial clinical and radiological response and its reported failure to prolong survival remains to be explained. Here, we illustrate the effectiveness of BEV in recurrent HGG by summarizing our single-centre experience. Methods: We have retrospectively investigated the effect of BEV in temozolomide refractory HGG in 39 patients treated at the University Hospital of Ulm, Germany. Results: Median duration of BEV treatment was 12.5 weeks; 23% of patients received BEV for more than 6 months and 15% for more than 1 year, until clinical or radiological tumour progression led to discontinuation. Furthermore, Karnofsky performance status increased in 30.6% and steroid dose decreased in 39% of all patients. Conclusions: The review of literature reveals that phase II and III studies support BEV as an effective therapy in recurrent HGG, at least with regard to progression-free survival (PFS), but landmark phase III trials failed to prove benefit concerning OS. Here, we discuss reasons that may account for this observation. We conclude that prolonging PFS with maintenance of neurological function and personal and economic independency justifies the off-label use of BEV. PMID: 29403545 [PubMed] http://dlvr.it/QFN1Y8
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What is a ‘Mental’ Disorder
CONTACT US: ‘robertfmullen.com’ / ‘ReChanneling.org’ / [email protected]
To the early civilizations, 'mental illnesses' were the domain of supernatural forces and demonic possession. Hippocrates and diagnosticians of the 19th century favored the humours. Lunar influence and sorcery and witchcraft are timeless culprits. In the early 20th century, it was somatogenic.[i] The biological approach argues that "mental disorders are related to the brain's physical structure and functioning." [ii] The pharmacological approach promotes it as an imbalance in brain chemistry. The 1st Diagnostic and Statistical Manual of Mental Illness (1952) was produced to address the influx of veteran shell shock (PTSD) and leaned heavily on environmental and biological causes.
One only needs the American Psychological Association's [iii] definition of neurosis to comprehend the mental health community's pathographic focus. The 90-word overview contains the following words: distressing, irrational, obsessive, compulsive, dissociative, depressive, exaggerated, unconscious, conflicts, anxiety, disorders. The 3rd
Diagnostic and Statistical Manual of Mental Disorders (DSM-3) abandoned the word 'neurosis' in 1980, but it remains the go-to term in the mental health community. Its etymology is the Greek neuron 'nerve' and the modern Latin -osis 'abnormal condition.' Coined by a Scottish physician in 1776, neurosis was then defined as functional derangement arising from disorders of the nervous system.
U.S. government agencies define mental illness as a "diagnosable mental, behavioral, or emotional disorder of sufficient duration to meet diagnostic criteria" that can "result in functional impairment which substantially interferes with or limits one or more major life activities." [iv] This 'defective' emphasis has been the overriding psychiatric perspective for over a century. By the 1952 publication of DSM-1, the focus had drifted from pathology (the science of the causes and effects of diseases) to pathography (the delineation of a person's psychological disorders, categorizing them to facilitate diagnosis). 'Pathos' is the Greek word for 'suffering' and the root of pathetic, and 'graphy' is its biographic rendering. Pathography is the history of an individual's suffering, aka, a morbid biography. Pathography focuses "on a deficit, disease model of human behaviour," whereas the wellness model focuses "on positive aspects of human functioning." [v]
Realistically, most terms for mental illness cannot be eliminated from the culture. Unfortunately, the negative implications of the term and its derivatives promulgate perceptions of incompetence, ineptitude, and undesirability. It is the dominant source of stigma, shame, and self-denigration. In deference to a wellness paradigm, we choose the word 'disorder'―defined as a correctable inability to function healthily or satisfactorily―over historical terms of pathographic influence.
There are four stages to any illness: susceptibility, onset, gestation, and manifestation. A disorder onsets (client is infected) and manifests (client is affected)―there can be no disagreement about that. Childhood/adolescent exploitation creates the susceptibility to the onset of a disorder, and the holism of the host―mind, body, spirit, and emotions―nurtures it.
Carl Roger's study of homeodynamics, or the cooperation of human system components to maintain physiological equilibrium, produced the word 'complementarity' to define simultaneous mutual interaction. All human system components must work in concert; they cannot function alone. Integrality describes the inter-cooperation of the human system and the environment and social fields. A disorder is not biologic, hygienic, neurochemic, or psychogenic, but a collaboration of these and other approaches administered by the mind, body, spirit, and emotions (MBSE) working in concert.
There is no legitimate argument against mind-body collaboration in disease and wellness. Emotions are reactive to the mind and body; spirit's participation merits explanation. First, spirit is not 'super,' but it is a natural component of human development. While some suggest spirit as the seat of emotions and character, the three are distinct entities. Spirit forms the definitive or typical elements in the character of a person. Emotions are the expressions of those qualities, responsive to the mind and body.[vi]
We all have disorders. They come in different intensities and affect each of us individually. There are at least nine clinical types of depression, five significant forms of anxiety, and four types of obsessive-compulsive disorder; their impacts can be mild, moderate, or severe. Some people adapt quite nicely and get on with their lives. Others incorporate it into their personalities―the cranky boss, clinging partner, temperamental neighbor. We designed this Blog for those of us whose lives are negatively impacted by their disorder.
Childhood/adolescent susceptibility to all disorders is plausible because, statistically, 89% of onset happens during adolescence.[vii] However, because symptoms can remain dormant until they manifest in the adult, statistics are indeterminate. This paper posits that childhood/adolescent-onset or susceptibility to onset is total. Claims or 'evidence' that onsets occur later in life do not impact the argument that susceptibility to onset originates during childhood/adolescence.
Anything that interferes with a child's social development is detrimental to adolescent and adult emotional health. Childhood/adolescent exploitation or abuse is a generic term to describe a broad spectrum of experiences that interfere with their optimal physical, cognitive, emotional, and social development.[viii] Any number of situations or events can trigger the susceptibility to onset; it could be hereditary, environmental, or some traumatic experience.[ix] Inheritability is rare and susceptible to other factors, and traumatic experience is environmental.
Despite the implication of intentionality in the words' abuse.' and 'exploitation,' much can be perceptual. A toddler who senses abandonment when a parent is preoccupied could develop emotional issues[x] Onset or susceptibility to onset should never be considered the child/adolescent's fault and may be no one's fault.
Undoubtedly, this sociological model conflicts with moral models that claim, "mental illness is onset controllable, and persons with mental illness are to blame for their symptoms," [xi] or that mental illness is God's punishment for sin or amoral behavior.
The cumulative evidence that childhood and adolescent occasions and events are the primary causal factor in lifetime emotional instability has been well-established. This exploitation interferes with the optimal physical, cognitive, emotional, and social development of the child. Most importantly, it affects our self-esteem, which administrates all our positive self-qualities (self-respect, -reliance, -compassion, -worth, and so on). These are the intangible qualities that make up our character, our goodness, our spirit. Our self-esteem is reactive to―and, in turn, impacts―our body, mind, and emotions. They all work together in concert. If one is affected, all are affected.
Again, it is crucial to recognize the adolescent/child is not responsible for the disorder. Quite possibly, no one is at fault. Playing the blame game only distracts from the solution. The critical question is, what are we going to do about it?
References
[i] Bertolote, J. (2008). The roots of the concept of mental health. World Psychiatry, 7(2): 113-116 (2008). doi: 10.1002/j.2051-5545.2008.tb00172.x; Farreras, I. G. (2020). History of mental illness. In R. Biswas-Diener & E. Diener (Eds), Noba textbook series: Psychology. Champaign, IL: DEF publishers. http://noba.to/65w3s7ex
[ii] McLeod, S. (2018). The Medical Model. (Online.) Simply Psychology. https://www.simplypsychology.org/medical-model.html
[iii] APA. (2020). Neurosis. (Online definition.) Dictionary of Psychology. American Psychological Association. Washington, DC: American Psychological Association. https://dictionary.apa.org/neurosis Accessed 05 April 2020.
[iv] Salzer, M. S., Brusilovskiy, E., & Townley, G. (2018). National Estimates of Recovery-Remission from Serious Mental Illness. Psychiatric Services, 69(5) 523-528 (2018). https://doi.org/10.1176/appi.ps.201700401; SAMSHA. (2017). 2017 National Survey on Drug Use and Health (NSDUH) by the Substance Abuse and Mental Health Services Administration. (Rockville, MD: SAMHSA. https://www.nimh.nih.gov/health/statistics/mental-illness.shtml#:~:text=Serious%20 mental%20illness%20(SMI)%20is,or%20more%20major%20life%20activities.
[v] Mayer, C.-H., & May, M. (2019). The Positive Psychology Movement. PP1.0 and PP2.0. In C-H Mayer and Z. Kőváry (Eds.), New Trends in Psychobiography (pp. 155-172). Springer Nature Switzerland. https://doi.org/10.1007/978-3-030-916953-4_9.
[vi] Mullen, R.F. (2018). ‘Mental’ Disorders. ReChanneling.org. http://www.rechanneling.org/page-12.html
[vii] Baron, M., Gruen, R., Asnis, l., Kane, J. (1983). Age-of-onset in schizophrenia and schizotypal disorders. Clinical and genetic implications. Neuropsychobiology,10(4):199-204 (1983). doi:10.1159/000118011; Kessler, R. C., Berglund, P., Demler, O., Jin, R., Merikangas, K. R., & Walters, E. E. (2005). Lifetime Prevalence and Age-of-Onset Distributions of DSM-IV Disorders in the National Comorbidity Survey Replication. Arch Gen Psychiatry; 62(6):593–602 (2005). doi:10.1001/archpsyc.62.6.593; Jones, P. (2013). Adult mental health disorders and their age at onset. British Journal of Psychiatry, 202(S54), S5-S10. doi:10.1192/bjp.bp.112.119164
[viii] Steele, B.F. (1995). The Psychology of Child Abuse. Family Advocate, 17 (3). Washington, DC: American Bar Association.
[ix] Mayoclinic. (2019). Mental Illness. (Online.) Mayo Clinic. https://www.mayoclinic.org/diseases-conditions/mental-illness/symptoms-causes/syc-20374968; NIH. (2019). Child and Adolescent Mental Health. (Online.) National Institute of Health. https://www.nimh.nih.gov/health/topics/child-and-adolescent-mental-health/index.shtml
[x] Lancer, D. (2019). What is Self-Esteem? (Online.) PsychCentral. https://psychcentral.com/lib/what-is-self-esteem/ Accessed 19 November 2019.
[xi] Corrigan, P. (2006). Mental Health Stigma as Social Attribution: Implications for Research Methods and Attitude Change. Clinical Psychology Science and Practice, 7(1), 48-67 (2006). Doi:10.1093/clipsy.7.1.48.
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