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Journal articles on the topic 'And Rock Star Erections'

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Published: 4 June 2021
Last updated: 15 February 2022

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1

TREIMAN, ALAN. "ROCK STAR." Chemical & Engineering News 85, no. 12 (March 19, 2007): 68. http://dx.doi.org/10.1021/cen-v085n012.p068.

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2

Greenberg, Richard. "Rock Star." American Scientist 94, no. 4 (2006): 375. http://dx.doi.org/10.1511/2006.60.375.

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3

Penri-Williams, Hugh. "Guru, not rock star." Infosecurity 6, no. 3 (April 2009): 43. http://dx.doi.org/10.1016/s1754-4548(09)70064-6.

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4

Jacobsen, Erica K. "A Real Rock Star?" Journal of Chemical Education 86, no. 1 (January 2009): 13. http://dx.doi.org/10.1021/ed086p13.

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5

Grillet, Thierry. "Archéologie de la rock star." Books 101, no. 10 (October 1, 2019): 50–53. http://dx.doi.org/10.3917/books.101.0050.

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6

Arnold, Vicky, Phyllis McKenzie, and Steve G. Sutton. "Instructional case: Rock Star Promotions, Inc." Journal of Accounting Education 13, no. 2 (March 1995): 241–57. http://dx.doi.org/10.1016/0748-5751(95)00006-8.

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7

MANINDER, KAUR. "Graphene: A Rock Star Nano-Sized Material." i-manager's Journal on Material Science 3, no. 4 (2016): 1. http://dx.doi.org/10.26634/jms.3.4.4822.

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8

Beckman, M. "'Rock Star' of Biomedical Ethics Tackles Cancer." JNCI Journal of the National Cancer Institute 99, no. 19 (September 25, 2007): 1426–34. http://dx.doi.org/10.1093/jnci/djm183.

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9

Krupp, E. C. "Crab Supernova Rock Art." Journal of Skyscape Archaeology 1, no. 2 (December 3, 2015): 167–97. http://dx.doi.org/10.1558/jsa.v1i2.28255.

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“Star” and crescent combinations in rock art in the American Southwest were first interpreted in 1955 as eyewitness depictions of the 1054 AD supernova explosion that produced the Crab nebula. While the Crab nebula is visible only telescopically, the event that generated it was brilliant, and for a time, only the sun and moon were brighter. Additional Crab supernova candidates in California and Southwest rock art were suggested 20 years later, and they included Chaco Canyon’s Penasco Blanco pictograph panel, which became the poster child for Crab supernova rock art and is now called “Supernova” on signage at the site. By 1979, a list of 21 Crab supernova rock art sites was assembled, and the inventory has continued to expand more slowly since then. This critical review of the supernova interpretation of star/crescent rock art, the product of 35 years of fieldwork, required an independent re-examination of all of the primary sites in person. That enterprise has already demonstrated that the Tenabo, New Mexico panel does not illustrate the Crab supernova and that the two Arizona sites on which the entire supernova rock art premise is based (White Mesa and “Navaho Canyon”) are unlikely records of the event. This detailed evaluation of the primary proposed star/crescent images indicates none is a satisfactory portrayal of the striking 1054 AD supernova.
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10

Back, Les. "Heard the one about the Jewish rock star?" Ethnic and Racial Studies 25, no. 5 (January 2002): 849–53. http://dx.doi.org/10.1080/0141987022000000303.

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11

Karen Coats. "Sorta Like a Rock Star (review)." Bulletin of the Center for Children's Books 64, no. 1 (2010): 38–39. http://dx.doi.org/10.1353/bcc.2010.0012.

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12

Olczyk, Tomasz, and Jacek Wasilewski. "From rock star to political star – curious case of Paweł Kukiz persona power." Persona Studies 2, no. 2 (December 7, 2016): 57–70. http://dx.doi.org/10.21153/ps2016vol2no2art612.

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The 2015 presidential election was a turning point in a history of celebritisation of politics in Poland. Rock vocalist Paweł Kukiz unexpectedly finished third with 20% of votes, the highest result of any celebrity–candidate in presidential elections. He achieved that, campaigning mostly on Facebook, without any significant power base and financial support. Kukiz set up his own political organisation, which gained a 9% backing in the parliamentary elections. He achieved that with no political platform, no media backing, and no party structure. We argue that his persona was a crucial asset in his political success. We will show how Kukiz created, managed and performed his persona, how he used it to mobilise three million voters and then to create and brand his “Kukiz’15 Movement.” Finally, we analyse limits, traps and contradictions of persona power. Analysed material includes Paweł Kukiz’s and his opponents’ Facebook posts, televised political advertisements, performances in celebrity TV shows and debates.
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13

Matuszek, Karolina, Mega Kar, and Douglas R. MacFarlane. "Kenneth R. Seddon – A Rock Star of Ionic Liquids." Australian Journal of Chemistry 72, no. 2 (2019): 1. http://dx.doi.org/10.1071/chv72n2_fo.

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14

Wright, Julie Lobalzo. "Animation and the Star Body." Film-Philosophy 23, no. 2 (June 2019): 194–211. http://dx.doi.org/10.3366/film.2019.0109.

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Animation has employed film stars throughout its long history; however, there have been few studies that have examined the relationship between film stardom and animation. This article explores the fantasy and illusion that is present through individual film stars and the medium of animation by investigating one particular example of the employment of a film star image within animation, Dwayne “The Rock” Johnson in Moana (Ron Clements and John Musker, 2016), and with a particular focus on the human and animated body.
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15

Jacob, Kara. "Review: John Lennon Imagined: Cultural History of a Rock Star." Media International Australia 118, no. 1 (February 2006): 161–62. http://dx.doi.org/10.1177/1329878x0611800125.

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16

Chong, W. L. "Young China's Voice of the 1980s: Rock Star Cui Jian." China Information 6, no. 1 (June 1991): 55–74. http://dx.doi.org/10.1177/0920203x9100600106.

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17

Fraser, Rick. "So you want to be a rock ‘n’ roll star?" BMJ 334, Suppl S1 (January 1, 2007): 070124. http://dx.doi.org/10.1136/sbmj.070124.

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18

Seeman, Jeffrey I. "R. B. Woodward: A Larger-than-Life Chemistry Rock Star." Angewandte Chemie International Edition 56, no. 34 (June 30, 2017): 10228–45. http://dx.doi.org/10.1002/anie.201702635.

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19

Seeman, Jeffrey I. "R. B. Woodward: A Larger-than-Life Chemistry Rock Star." Angewandte Chemie 129, no. 34 (June 30, 2017): 10362–79. http://dx.doi.org/10.1002/ange.201702635.

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20

Gross, Claire. "My Misadventures as a Teenage Rock Star (review)." Bulletin of the Center for Children's Books 64, no. 10 (2011): 487. http://dx.doi.org/10.1353/bcc.2011.0427.

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21

Fraser, Rick. "So you want to be a rock `n' roll star?" BMJ 333, no. 7578 (November 25, 2006): s198. http://dx.doi.org/10.1136/bmj.333.7578.s198.

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22

Avdeenko, Ivan A. "Actualization of the Invariant Semantics of the STAR Symbol in Texts of Russian Rock Poetry." Nauchnyi dialog, no. 7 (July 30, 2020): 24–39. http://dx.doi.org/10.24224/2227-1295-2020-7-24-39.

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The questions of the invariant semantics of the symbol and its actualization in the texts of Russian rock poetry are considered. Attention is paid to the studies of the symbol, concept and image of the star in Russian poetry and rock poetry. The author notes that these studies do not present the correlation of individually authored imaginative worldview with the worldview of the subculture reflected in the text. A review of the work of linguistic poetics and anthropocentric linguistics is performed. The definitions of a symbol within the framework of these paradigms are given. It is concluded that the understanding of a symbol as a carrier of the worldview of culture changes the idea of the connection between the signifier and the signified and the “reference point” of the aesthetic. The author proceeds from the fact that the aesthetic image is built on the basis of the invariant semantics of a symbol in the language of subculture. The results of a comparative analysis of the symbolic semantics of the star nomination in the language of Russian rock poetry and other subsystems of the Russian national language, including aesthetically oriented ones, are presented. It is shown that the invariant semantics of the STAR symbol, relevant for Russian rock poetry, lies at the heart of the star’s images, which are identical, connected and contrasted with the author’s image. It is proved that the actualization of the semantics of the STAR symbol does not depend on the specific author and the text of Russian rock poetry, reproduces general ideas about the world.
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23

Chung, Heejoon. "Sport Star vs Rock Star in Globalizing Popular Culture: Similarities, Difference and Paradox in Discussion of Celebrities." International Review for the Sociology of Sport 38, no. 1 (March 1, 2003): 99–108. http://dx.doi.org/10.1177/1012690203038001731.

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24

Hokland, Peter. "Janet Rowley 1925-2013: a rock star of haematology and genetics." British Journal of Haematology 165, no. 3 (March 3, 2014): 269–70. http://dx.doi.org/10.1111/bjh.12808.

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25

Braucher, Régis, Pierre-Henri Blard, Erik T. Brown, Julien Carcaillet, Anne-Elisabeth Lebatard, Lionel Siame, Quentin Simon, et al. "Didier L. Bourlès (1955–2021), the 5 MV cosmogenic rock star." Quaternary Geochronology 65 (August 2021): 101186. http://dx.doi.org/10.1016/j.quageo.2021.101186.

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26

Lipton, Mark. "I Wanna Be a Rock Star: My Personal Pedagogy of Popular Music1." Journal of Popular Music Studies 9-10, no. 1 (September 1997): 101–8. http://dx.doi.org/10.1111/j.1533-1598.1997.tb00110.x.

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27

Ariana Remmel. "Animal lovers battle on social media and a newly named rock star." C&EN Global Enterprise 98, no. 34 (September 7, 2020): 64. http://dx.doi.org/10.1021/cen-09834-newscripts.

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28

Solomon, Catherine Richards. ""I Feel Like a Rock Star": Fatherhood for Stay-at-Home Fathers." Fathering: A Journal of Theory, Research, and Practice about Men as Fathers 12, no. 1 (January 1, 2014): 52–70. http://dx.doi.org/10.3149/fth.1201.52.

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29

Braucher, Régis, Pierre-Henri Blard, Erik T. Brown, Julien Carcaillet, Anne-Elisabeth Lebatard, Lionel Siame, Quentin Simon, et al. "WITHDRAWN: Didier L. Bourlès (1955–2021), the 5 MV cosmogenic rock star…" Quaternary Geochronology 66 (October 2021): 101184. http://dx.doi.org/10.1016/j.quageo.2021.101184.

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30

Walus, Scott M., and Melissa A. Click. "“I Can’t Think of a More Unlikely Rock Star than Me”: Representations of “Averageness” in the Myth of Rock." Rock Music Studies 3, no. 3 (November 26, 2015): 248–65. http://dx.doi.org/10.1080/19401159.2015.1112106.

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31

Homan, Shane. "Losing the local: Sydney and the Oz Rock tradition." Popular Music 19, no. 1 (January 2000): 31–49. http://dx.doi.org/10.1017/s0261143000000040.

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In a tiny inner city pubThe amps were getting stackedLeads were getting wound upIt was full of pissed Anzacs‘Got no more gigs for Tuesday nights’ said the barman to the star,‘We're putting pokies in the lounge and strippers in the bar’The star, he raised his fingers and said ‘fuck this fucking hole’But to his roadie said ‘it's the death of rock and roll’‘There ain't no single place left to play amplified guitarEvery place is servin' long blacks if they're not already tapas bars(TISM (This Is Serious Mum), ‘The Last Australian Guitar Hero’, 1998)Introduction: local music-makingA number of recent studies have focused upon the places and spaces of popular music performance. In particular, analyses of British live music contexts have examined the role of urban landscapes in facilitating production/consumption environments. Building upon Simon Frith's (1983) initial exploration of the synthesis of leisure/work ideologies and popular music, Ruth Finnegan's detailed examination of amateur music practices in Milton Keynes (1989) and Sara Cohen's account of the Liverpool scene (1991) reveal the benefits of engaging in detailed micro-studies of the local. Paul Chevigny's history of the governance of New York City jazz venues (1991) similarly provides a rich insight into performance contexts and the importance of hitherto unnoticed city ordinances in influencing the production of live music.
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32

Silk, Hugh. "Physician Wellness: The Rock Star Doctor’s Guide—Change Your Thinking, Improve Your Life." Family Medicine 52, no. 4 (April 3, 2020): 304–5. http://dx.doi.org/10.22454/fammed.2020.714048.

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33

李, 晓军. "Analysis on Surrounding Rock Pressure of Tencent Seven Star Data Center Tunnel Group." Hans Journal of Civil Engineering 08, no. 06 (2019): 1045–51. http://dx.doi.org/10.12677/hjce.2019.86122.

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34

Martens, W. H. J. "Two Souls in one Breast—A Case Report of the Rock Star Double." American Journal of Psychotherapy 65, no. 3 (July 2011): 267–79. http://dx.doi.org/10.1176/appi.psychotherapy.2011.65.3.267.

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35

Ceisel, Christina Maria. "El Rock Star Perfecto? Theorizing Juanes and New Directions in Cross-Over Celebrity." Communication Theory 21, no. 4 (October 17, 2011): 413–35. http://dx.doi.org/10.1111/j.1468-2885.2011.01393.x.

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36

Abouai, J. "Maya: "So ya wanna be a rock 'n roll star" revisited [animation product]." IEEE Computer Graphics and Applications 20, no. 2 (2000): 7–11. http://dx.doi.org/10.1109/38.824450.

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37

Mahlburg Kay, Suzanne, and Victor Ramos. "Backbone of the Americas: From Patagonia to Alaska—A Super Rock Star Event." GSA Today 17, no. 1 (2007): 30. http://dx.doi.org/10.1130/1052-5173(2007)17[30:botafp]2.0.co;2.

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38

Marino, James J. "Thomas Dekker, Rock Star: “Golden Slumbers,” the Beatles, and the Wages of Authorship." Journal for Early Modern Cultural Studies 15, no. 4 (2015): 1–21. http://dx.doi.org/10.1353/jem.2015.0027.

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39

Noonan, Julie A. "The rock star figure: Authenticity, satire and legacy in Bloody Bloody Andrew Jackson (2010)." Studies in Musical Theatre 10, no. 1 (March 1, 2016): 19–36. http://dx.doi.org/10.1386/smt.10.1.19_1.

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40

Cherneski, Jennifer. "Evidence‐loving rock star chief medical officers: Female leadership amidst COVID‐19 in Canada." Gender, Work & Organization 27, no. 5 (July 15, 2020): 900–913. http://dx.doi.org/10.1111/gwao.12494.

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41

Mason, Helen. "You don't have to be a rock star to work here, but it helps!" Early Years Educator 8, no. 1 (May 2006): 16–18. http://dx.doi.org/10.12968/eyed.2006.8.1.20752.

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42

Ortallono, Sam. "So you wanna be a rock “n” roll star (there’s an app for that)." Journal of the Acoustical Society of America 141, no. 5 (May 2017): 3995. http://dx.doi.org/10.1121/1.4989153.

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43

Dobos, Vera, Amy C. Barr, and László L. Kiss. "Tidal heating and the habitability of the TRAPPIST-1 exoplanets." Astronomy & Astrophysics 624 (March 29, 2019): A2. http://dx.doi.org/10.1051/0004-6361/201834254.

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Context. New estimates of the masses and radii of the seven planets orbiting the ultracool M-dwarf TRAPPIST-1 star permit improved modelling of their compositions, heating by tidal dissipation, and removal of tidal heat by solid-state convection. Aims. Here we compute the heat flux due to insolation and tidal heating for the inner four planets. Methods. We apply a Maxwell viscoelastic rheology to compute the tidal response of the planets using the volume-weighted average of the viscosities and rigidities of the metal, rock, high-pressure ice, and liquid water/ice I layers. Results. We show that TRAPPIST-1d and e can avoid entering a runaway greenhouse state. Planet e is the most likely to support a habitable environment, with Earth-like surface temperatures and possibly liquid water oceans. Planet d also avoids a runaway greenhouse, if its surface reflectance is at least as high as that of the Earth. Planets b and c, closer to the star, have heat fluxes high enough to trigger a runaway greenhouse and to support volcanism on the surfaces of their rock layers, rendering them too warm for life. Planets f, g, and h are too far from the star to experience significant tidal heating, and likely have solid ice surfaces with possible subsurface liquid water oceans.
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44

Bial, Henry. "The Theatre Historian as Rock Star, or Six Axioms for a New Theatre History Text." Theatre Topics 17, no. 1 (2007): 81–86. http://dx.doi.org/10.1353/tt.2007.0002.

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45

Gelbart, Matthew. "Persona and Voice in the Kinks' Songs of the Late 1960s." Journal of the Royal Musical Association 128, no. 2 (2003): 200–241. http://dx.doi.org/10.1093/jrma/128.2.200.

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During the later 1960s, the Kinks wrote many songs confronting the dominant reception trope of reading the rock star as iconic ‘youth’ who ‘authentically’ presented his or her life on stage. The present article approaches this issue through Edward T. Cone's and other work on voice and persona in music. Several specific Kinks songs from the period are analysed, focusing on the divergence between vocal ‘protagonists’ and other personae or voices appearing in the music, which make it difficult to map the protagonists onto the writer/performer directly. The methods explored have broader implications for analysing rock songs as musical-cultural artefacts.
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46

Frith, Simon. "Look! Hear! The uneasy relationship of music and television." Popular Music 21, no. 3 (October 2002): 277–90. http://dx.doi.org/10.1017/s0261143002002180.

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Television is an essential part of the star-making machinery of the music business and music accompanies nearly all television programmes, and yet the relationship between the two is uneasy. Television does not seem to be an essential part of musical culture and adds little to music aesthetically. Music has had little impact on the form or aesthetics of television. And yet television has certainly had an impact on music and particularly on the mediation of rock and the formation of the modern pop/rock aesthetic. Here it is not music in television that is important but television in music. The 1950s was a significant turning point in popular music history not so much because of the musical revolution of rock ‘n’ roll but because of the impact of television.
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47

Barros, Patrícia Marcondes de. "O Glam Rock brasileiro: moda e comportamento andrógino na década de 1970." Domínios da Imagem 13, no. 25 (April 20, 2020): 65. http://dx.doi.org/10.5433/2237-9126.2019v13n25p65.

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A presente pesquisa analisa Moda e comportamento relacionado à androginia do gênero musical Glam rock, surgido na Inglaterra no final dos anos 1960, como uma provocação à estética naturalista hippie. Por meio de pesquisa qualitativa de cunho bibliográfico documental (documentários, impressos alternativos de época e peças publicitárias), analisaremos num primeiro momento a estética andrógina inerente ao Glam Rock que ganhou visibilidade com astros a exemplo de David Bowie, Marc Bolan e Lou Reed. Posteriormente, perscrutaremos a referida estética no Brasil, expressa por artistas como Ney Matogrosso, Edy Star e o grupo teatral Dzi Croquettes que escandalizaram o público brasileiro em tempos de ditadura militar com suas performances viscerais e figurinos extravagantes, transcendendo as fronteiras entre o feminino e o masculino. O Glam rock criou uma identidade rebelde através do corpo e da androginia, subvertendo ideias estabelecidas na vida e na Moda.
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48

Berk, Hillary L. "Savvy Surrogates and Rock Star Parents: Compensation Provisions, Contracting Practices, and the Value of Womb Work." Law & Social Inquiry 45, no. 2 (January 20, 2020): 398–431. http://dx.doi.org/10.1017/lsi.2019.57.

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Abstract:What is the value of surrogate labor and risks, and how is it negotiated by participants as they contract within an unsettled baby market? This article presents novel data on compensation, fee, and bodily autonomy provisions formalized in surrogacy contracts, and the experiences of actors embedded in exchange relations, as they emerge in a contested reproductive market. It combines content analysis of a sample of thirty surrogacy contracts with 115 semi-structured interviews conducted in twenty states across the United States of parties to these agreements, attorneys who draft them, counselors, and agencies that coordinate matches between intended parents and surrogates. It analyzes the value of services and medical risks, such as loss of a uterus, selective abortion, and “carrier incapacity,” as they are encoded into agreements within an ambiguous field. Surrogacy is presented as an interactive social process involving law, markets, medicine, and a variety of cultural norms surrounding gender, motherhood, and work. Contracts have actual and symbolic power, legitimating transactions despite moral anxieties. Compensation transforms pregnancy into a job while helping participants make sense of the market and their “womb work” given normative flux. Contracts are deployed by professionals without informed policies that could enhance power and reduce potential inequalities.
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49

Demir, Danyela, Olivier Moreillon, and Alan Muller. "In Search of a ‘Rock Star’: Commemorating Kabelo Sello Duiker's Life and Work Ten Years on." Current Writing: Text and Reception in Southern Africa 27, no. 1 (January 2, 2015): 26–37. http://dx.doi.org/10.1080/1013929x.2015.1045206.

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50

Arazi, Hamid, Amir Rashidlamir, Mohammad Zahed Abolhasani, and Somayeh Askari Hosaini. "Profiling and predicting performance of indoor rock climbers." Brazilian Journal of Kinanthropometry and Human Performance 20, no. 1 (March 14, 2018): 82–94. http://dx.doi.org/10.5007/1980-0037.2018v20n1p82.

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The aim of this study is to establish somatotype and profile the anthropometric and biomotor characteristics of indoor rock climbers. Fourteen elite level male and ten recreational female Iranian indoor rock climbers completed a battery of tests. All anthropometric measurements were performed according to the recommendations of international standards for anthropometric assessment. Upper body strength and endurance were assessed by isometric tests. Explosive power and balance were also evaluated by Sargent jump and Star Excursion Balance Test (SEBT), respectively. Samples’ somatotypes were calculated by the method of Heath and Carter. Pearson’s correlation coefficient and partial correlations were calculated and stepwise multiple regression analyses were implemented to determine a set of best predictors of elite male climbers’ ability. Shoulder width, body fat content, upper-body strength and endurance for females, showed the most correlation with the climbing ability (range: r = 0.46–0.7, p ≤ 0.05), while among the male samples, these correlations with the climbing ability were mostly between WHR, absolute and relative to body mass handgrip strength, SEBT performance and the left-hand digit ratio. The results of stepwise multiple regression revealed that the SEBT performance in the posterior direction of right foot stance and Upper Extremity Girth Index are able to explain 62% of the variance of climbing ability. It is likely that decreasing the fat mass has no direct impact on the climbers’ performance. Also, SEBT performance is able to predict 35% of climbing performance. Hence, it seems balance exercises could be effective in improvement of climbing performance.
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