Memoria para optar al título de Periodista / El autor no autoriza el acceso a texto completo de su documento / ¿Cómo fue que supe de la radio? Fue de las últimas cosas que pensé antes de querer dormir. Pero no podía. Estoy con un pie adentro y uno afuera de la radio Rock & Pop y se me parte el corazón. Aunque no debería. Porque es un trabajo, porque lo importante está afuera... Sí. Afuera de esta cama, y afuera de la oficina. Y fuera de cualquier entendimiento. Una tarde Carlos –Costas, mi ex jefe hace algunos meses, hoy flamante director de Radio ADN– dijo que reconocía en mí sus "mismos niveles de pasión y desquicio con la radio". Ahí mismo me quise poner a llorar. En una cocina chica, mientras escuchaba que Jean-Philippe –Cretton, el conductor del programa que produzco en la radio– decía que Jorge González volvía a caer en la clínica tras el accidente cerebelo-vascular que lo había dejado fuera de los escenarios. No sabía qué pesaba más, si la emoción profunda de que lo más parecido a un hermano mayor, el tipo que me ofreció la pega soñada y apostó por mí hasta que tuvo que irse a dirigir una de las radios más importantes del país, se vea reflejado en mí; o la pena de saber que uno de los hombres más inspiradores e influyentes de mi vida estuviera grave en una clínica. Tampoco sabía cuán inmaduro era el hecho de que ambas cosas lograran congelarme en un momento en el que había que tener la mente fría y supervisar una puesta al aire impecable... 4 Todo esto estaba pasando en la radio, un lugar donde suele regir más corazón que otras cosas, al menos en los que nos tomamos esto en una dimensión mucho más que de trabajo.

The influence of electronic percussion (in particular, the Simmons Drum Company’s innovations) on the compositions and evolution of 1980s Pop music can be examined through technological advancements as well as stylistic characteristics of drum partitions of the decade. Archived company catalogues in collaboration with Matt Dean’s historical timeline provide a clear understanding of the advancements during the time of the company’s tenure at the top of the electronic percussion industry. Definitions of the terms “style” and “genre” in both the primary and secondary approaches -by Allan Moore and other theorists- are used. The stylistic properties which create a genre are key in understanding the political, social, and cultural effects on the music. Ultimately, stylistic traits provide sufficient evidence in order to examine similar compositions which were sub-categorized differently on Billboard’s hit charts. Dave Carlton’s Hook Theory is a major resource in selecting pieces of music which share similarities. The differences in sub-categorization identified in this study are shown to derive from the transition to and the use of electronic percussion.

Solid porous materials are network materials that contain space void. Porous Organic Polymers (POPs) are porous materials, which are constructed from organic building blocks and exhibit large surface area with low densities. Due to these characteristics, POPs have attracted attentions because of their potential use in application such as gas storage and chemical separation. This thesis presents a study of the synthesis of novel POP being a network based on 2,5- dibromobenzaldehyde and 1,3,5-triethynylbenzene linked together via Sonogashira- Hagihara (SH) coupling. This network showed a relatively good surface area of 770 m2/g and total pore volume of 0.59 cc/g. In addition, it proved to be chemically and thermally stable, maintaining the thermal stability up to 350oC. In addition to synthesize novel aldehyde-POP network, it was also possible to post synthetically modify a network via one-step post synthetic functionalization by amine. Ethelynediamine (EDA), Diethylenetriamine (DETA), and Tris(2-aminoethyl)amine (Tris-amine) are three different amines used for aldehyde-POP functionalization. The produced networks were aminated via different amine species substitution the aldehyde group present within the network. Modification to these networks resulted in a decrease in surface area from 770 m2.g-1 to 333 m2.g-1, 162 m2.g-1, and 211 m2.g-1 in respective to EDA, DETA, and Tris-amine. Although the surface areas were decreased, the CO2 adsorption was enhanced as evidenced by the increase of Qst (i.e., from 25 to 45 kJ.mol-1 for DETA at low coverage). Our findings are expected to strengthen existing research areas of the influence of different type of amines (e.g aromatic amine) on CO2 adsorption. Although amine grafting has been studied in other systems (e.g., PAFs and MOFs), we are the first to reported amine functionalized POPs using a novel one-step amine grafting PSM procedure. Future research might extend to study the interaction between CO2 and amine species under real working conditions.

Introduction: Addictive substances among musicians is a common occurrence. However, this phenomenon is mostly described only by the musicians themselves in their autobiographies. There is little professional work to address this phenomenon. There are many factors that affect musicians and lead them to use addictive substances. Even though this phenomenon is so widespread, it is taken for granted and few pay attention to it. Aim: Aim of thesis is to identify and describe patterns of substance use in active musicians in music groups that are based in the Benešov region, but play outside this area too. Methodology Data were collected in the form of a semi-structured interview. A list of music groups was created using the bandzone website. These groups were then found on Facebook to find out their activity. They were also subsequently approached here. 9 researched musicians took part in the research. Responses from the interviews were recorded directly by hand. Overwrite was performed while data was being written. Subsequently, the data were analyzed by elements of grounded theory. Using open coding, the codes were assigned to important topics in the text. These topics were grouped using axial coding. Using these categories, patterns of substance use among active musicians in music groups based in the...

Yes

No description available.

No description available.

How did music play a consistent role through various memories? In this memoir, I look at the sweet, the traumatic and troubling. I use specific songs as connections to lost loved ones. I pin the power of music to the loss of three important people in my life: my sister, father, and mother. Who were their musical touchstones? Did I share them? Did music run through them as it has always run through me? The memoir is sandwiched by a brief extended metaphor that props up the conceit that we are entering a live concert performance. It is billed as a "letter to a lost loved one" because it is indeed meant to address that lost one, my sister, my guide. In the opening section I've lost my voice. I eventually reclaim it and vow that I will perhaps meet my sister at some point in the future.

Tendo como hipótese a de que as teorias teatrais podem ser utilizadas para a análise e para o estímulo da produção de arquitetura e urbanismo configura-se, nesta tese, um campo interdisciplinar cujo foco é a produção do arquiteto e cenógrafo Flávio Império(1935-1985). Império é um importante elo entre o teatro e a arquitetura vanguardistas produzidas em São Paulo, especialmente durante o período em que foi professor da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo (FAU-USP); por esse motivo adota-se esse período como o recorte temporal desta pesquisa. Em São Paulo, o engajamento político dos arquitetos e dos artistas do teatro, ao longo da década de 1960, os levaram a desenvolver linguagens artísticas bastantes distintas, apesar de compartilharem objetivos políticos e sociais similares. A análise da produção arquitetônica e cenográfica de Império, complementada com a de outros artistas próximos ao seu contexto, permite descrever as convergências e divergências entre a linguagem arquitetônica brutalista, como defendida por Vilanova Artigas (1915-1985), arquiteto e professor da FAU-USP, e o teatro épico brechtiano valorizado pelos grupos Teatro de Arena e Teatro Oficina, junto aos quais Império trabalhou intensamente. O atrito entre estas duas linguagens (a arquitetônica e a teatral) manifesta-se na produção realizada por Império junto com os arquitetos Sérgio Ferro (1938) e Rodrigo Lefèvre (1938-1984), em que o pensamento utópico e desenvolvimentista, característico do brutalismo paulistano, confrontava-se com as propostas realistas e de exploração do cotidiano, defendidas por Bertolt Brecht (1898-1956). O retrocesso democrático produzido pelo Golpe Civil-militar de 1964 e pela consolidação da ditadura como Ato Institucional n.5 (AI-5) em 1968, colocam à prova estas distintas opções artísticas. A arquitetura reage reforçando a autonomia do seu campo disciplinar e artístico, enquanto que o teatro, em sentido oposto, coloca em cheque a pertinência das estratégias políticas e artísticas enrijecidas, e isso se pode observar na produção Tropicalista, intensa em muitos campos artísticos, mas não no ambiente cultural da FAU-USP. Enquanto o teatro, e as artes plásticas, exploraram os aspectos rituais, imagéticos e corporais da produção cultural, questionando o status do objeto artístico, os arquitetos mantiveram-se fiéis à espacialidade e à temporalidade abstrata e impessoal do modernismo. Estas questões são aqui desenvolvidas e analisadas tendo como referência as ideias teatrais influentes naquele período - partilhadas por Império - e foram utilizadas como ferramenta crítica desta produção arquitetônica e urbanística. / Adopting the hypothesis that theatrical theories can be used to analyze and stimulate the production of architecture and urbanism, this thesis set up an interdisciplinary field focusing on the production of the architect and set designer Flávio Império (1935-1985). Império is an important link between the avant-garde theater and architecture produced in São Paulo, especially during the period when he was professor at the School of Architecture and Urbanism at USP - University of São Paulo (FAU-USP); for that reason this period is adopted as the temporal cut of this research. In São Paulo, the political engagement of the architects and the theater artists throughout the 1960s led them to develop some rather distinct artistic languages, in spite of sharing similar social and political goals. The analysis of the architectural and scenographic production of Império, complemented by the analysis of the other artists close to his context, allows us to describe the convergences and divergences between the brutalist architectural language, as adopted by Vilanova Artigas (1915-1985),architect and professor at FAU- USP, and the brechtian epic theater valued by the groups Teatro de Arena and Teatro Oficina, where Império worked intensively. The friction between these two languages (architectural and theatrical) is manifested in the production carried out by Império along with the architects Sérgio Ferro (1938) and Rodrigo Lefèvre (1938-1984), in which utopian and developmentalist thinking - characteristic of the brutalist architecture produced in São Paulo - were confronted with the realist and exploitative proposals of daily life defended by Bertolt Brecht (1898-1956). The democratic retrogression produced by the1964 civil-military coup and the consolidation of the dictatorship with the Ato Institucional n.5(AI-5) in 1968 put these different artistic options to the test. Architecture reacts by reinforcing the autonomy of its disciplinary and artistic field, while the theater, in an opposite sense, puts in check the pertinence of stiffened political and artistic strategies, which can be observed in the Tropicalist production - intense in several artistic fields, but not in the cultural environment of FAU-USP. Whereas theater and the visual arts explored the ritual, imagetic, and corporeal aspects of cultural production, questioning the status of the artistic object, architects remained faithful to the abstract and impersonal spatiality and temporality of modernism. These questions are developed and analyzed here, with reference to the theatrical ideas that were influential in that period - shared by Império - which were used as a critical tool of this architectural and urbanistic production.

Background: E-commerce retailing is the most rapidly growing shopping mode and has quickly gained a huge market share. The increased growth rate means that the competition among online based companies is growing. Therefore the challenge faced is how to be unique on an extremely competitive market and being able to reach customers in a jungle of information and communication. By identifying barriers and weaknesses in the existing online sales mode, new complementary tools might be found which can help online based companies to stay competitive, meet customers’ demands and deliver exclusive experiences.   Purpose: The purpose of this thesis is to describe the new phenomenon pop-up store and investigate if it could be a complementary tool for online based companies to help tackling limitations inherent in e-businesses.   Methodology: In this study we conducted seven interviews with people that have been working with pop-up store concepts in some way. Two of the interviewees were consultants, one was a specialist on pop-up stores and the rest were Marketing Managers of well known Swedish companies.       Conclusions: This study showed that the three most prominent limitations inherent with e-business (lack of human interaction, communication, capture of visitors’ attention) could be overcome with a pop-up store.   Proposals for future research: It would be interesting to further investigate, in connection to this study, how customers have perceived the concepts and if they think that a pop-up store could increase their knowledge about an online based company and enhance their willingness to purchase through the web