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Comics From Wikipedia, the free encyclopedia Jump to: navigation, search For the entertainers known as "comics", see Comedian. For the magazine format usually containing longer self-contained stories, see Comic book. "Sequential Art" redirects here. For the webcomic, see Sequential Art (webcomic). Little Sammy Sneeze (1904–06) by Winsor McCayComics (via Latin, from the Greek "Κωμικός", kōmikos, of or pertaining to "comedy", from kōmos "revel".[1]) is a graphic medium in which images are utilized in order to convey a sequential narrative; the term, derived from massive early use to convey comic themes, came to be applied to all uses of this medium including those which are far from comic. It is the sequential nature of the pictures, and the predominance of pictures over words, that distinguish comics from picture books, though there is some overlap between the two media. Most comics combine words with images, often indicating speech in the form of word balloons, but wordless comics, such as The Little King, are not uncommon. Words other than dialogue, captions for example, usually expand upon the pictures, but sometimes act in counterpoint.[2] Early precursors of how comics we know it today include Trajan's Column and the work of William Hogarth. By 19th century, the medium as we know it today, began to take form among European and American artists. Comics as a real mass medium started to emerge in the United States in the early 20th century, with the newspaper comic strip, where its form began to be standardized (image-driven, speech balloons etc). The combination of words and pictures proved popular, and quickly spread throughout the world. Comic strips were soon gathered into cheap booklets, comic books, and original comic books soon followed. Today, comics are found in newspapers, magazines, comic books, graphic novels, and on the web. Although historically the form dealt with humorous subject matter, its scope has expanded to encompass the full range of literary genres. Also see: Comic strip and cartoon. In the anglo-saxon world, comics are still typically seen as a low art[3][4][5] [6][7][8], although there are a few exceptions, such as Krazy Kat[9] and Barnaby. However, such an elitist "low art/high art" distinction doesn't exist in the French speaking world (and, to some extent, continental Europe), where the Bandes Dessinees medium as a whole is commonly accepted as "the Ninth Art", is usually dedicated a non-negligible space in bookshops and libraries, and is regularly celebrated in international events such as the Angoulême International Comics Festival. In the late 20th and early 21st century there has been a movement to rehabilitate the medium. Critical discussions of the form appeared as early as the 1920s,[10][11] but serious studies were rare until the late 20th century.[12] Although practitioners can eschew any formal constraints, they often use particular forms and conventions to convey narration and speech, or to evoke emotional or sensuous responses. Devices such as speech balloons and boxes are used to indicate dialogue and impart establishing information, while panels, layout, gutters and zip ribbons can help indicate the flow of the story. Comics use of text, ambiguity, symbolism, design, iconography, literary technique, mixed media and stylistic elements of art help build a subtext of meanings.[13] Different conventions were developed around the globe, from the manga of Japan to the manhua of China, the comic books of the United States, and the larger hardcover albums in Europe. Contents [hide] 1 Early narratives in art 2 The 15th–18th centuries and printing advances 3 The 19th century: a form established 4 The 20th century and the mass medium 5 Forms 5.1 Publication formats 6 Artistic medium 6.1 Defining comics 6.2 Art
styles 6.3 The language 6.4 Comic creation 6.5 Tools 6.6 Computer generated comics 7 Comics in higher education 8 See also 9 Notes 10 Bibliography 11 Further reading 12 External links [edit] Early narratives in art Sequential depictions on Trajan's Column In Lucas Cranach the Elder's "Adam and Eve" different scenes of the Biblical story are shown in the same painting: on the front, God is admonishing the couple for their sin; in the background to the right are shown the earlier scenes of Eve's creation from Adam's rib and of their being tempted to eat the forbidden fruit; on the left is the later scene of their expulsion from Paradise.Comics as an art form established itself in the late 19th and early 20th century, alongside the similar forms of film and animation. The three forms share certain conventions, most noticeably the mixing of words and pictures, and all three owe parts of their conventions to the technological leaps made through the industrial revolution. Although the comics form was established and popularized in the pages of newspapers and magazines in the late 1890s, narrative illustration has existed for many centuries. Rome's Trajan's Column, dedicated in 113 AD, is an early surviving examples of a narrative told through the use of sequential pictures, while Egyptian hieroglyphs, Greek friezes, medieval tapestries such as the Bayeaux Tapestry and illustrated manuscripts also demonstrate the use of sequential images and words combined to convey a narrative. In medieval paintings, many sequential scenes of the same story (usually a Biblical one) are simultaneously shown in the same painting (see illustration on the left). However, these works lack the ability to travel to the reader; it needed the invention of modern printing techniques to allow the form to capture a wide audience and become a mass medium.[14][15][16] [edit] The 15th–18th centuries and printing advances Last image in William Hogarth's A Rake's ProgressThe invention of the printing press, allowing movable type, established a separation between images and words, the two requiring different methods in order to be reproduced. Early printed material concentrated on religious subjects, but through the 17th and 18th centuries they began to tackle aspects of political and social life, and also started to satirize and caricature. It was also during this period that the speech bubble was developed as a means of attributing dialogue. William Hogarth is often identified in histories of the comics form. His work, A Rake's Progress, was composed of a number of canvases, each reproduced as a print, and the eight prints together created a narrative. As printing techniques developed, due to the technological advances of the industrial revolution, magazines and newspapers were established. These publications utilized illustrations as a means of commenting on political and social issues, such illustrations becoming known as cartoons in the 1840s. Soon, artists were experimenting with establishing a sequence of images to create a narrative. While surviving works of these periods such as Francis Barlow's A True Narrative of the Horrid Hellish Popish Plot (c.1682) as well as The Punishments of Lemuel Gulliver and A Rake's Progress by William Hogarth (1726), can be seen to establish a narrative over a number of images, it wasn't until the 19th century that the elements of such works began to crystallise into the comic strip. The speech balloon also evolved during this period, from the medieval origins of the phylacter, a label, usually in the form of a scroll, which identified a character either through naming them or using a short text to explain their purpose. Artists such as George Cruikshank helped codify such phylacters as balloons rather than as scrolls, although at this time they were still referred to as labels. Although they were now used to represent dialogue, this dialogue was still used for identification purposes rather than to create a dialogue within the work, and artists soon discarded them in favour of running dialogue underneath the panels. The speech balloons weren't reintroduced to the form until Richard F. Outcault utilized them as a means of establishing dialogue within his works.[17] [edit] The 19th century: a form established A page by Rodolphe Töpffer, whose work is considered influential in shaping the comics form.Rodolphe Töpffer, a Francophone Swiss artist, is seen as the key figure of the early part of the 19th century. Although speech balloons had fallen from favour during the middle part of the 19th century, Töpffer's sequentially illustrated stories, with the text compartmentalised below the images, were reprinted throughout Europe and the United States. The lack of copyright laws at this time allowed such pirated editions, and these translated versions created a market on both continents for similar works.[18] In 1845 Töpffer formalised his thoughts on the picture story in his Essay on Physiognomics: "To construct a picture-story does not mean you must set yourself up as a master craftsman, to draw out every potential from your material — often down to the dregs! It does not mean you just devise caricatures with a pencil naturally frivolous. Nor is it simply to dramatize a proverb or illustrate a pun. You must actually invent some kind of play, where the parts are arranged by plan and form a satisfactory whole. You do not merely pen a joke or put a refrain in couplets. You make a book: good or bad, sober or silly, crazy or sound in sense."[19][20][21] In 1843 the satirical drawings which had regularly been appearing in newspapers and magazines gained a name: cartoons. The British magazine Punch, launched in 1841, referred to its 'humorous pencilings' as cartoons in a satirical reference to the Parliament of the day, who were themselves organising an exhibition of cartoons, or preparatory drawings, at the time. This usage became common parlance, lasting into the present day.[22] Similar magazines containing cartoons in continental Europe included Fliegende Blätter and Le Charivari, while in the U.S. Judge and Puck were popular.[23] 1865 saw the publication of Max and Moritz by Wilhelm Busch by a German newspaper. Busch refined the conventions of sequential art, and his work was a key influence within the form, Rudolph Dirks was inspired by the strip to create The Katzenjammer Kids in 1897.[24] It is around this time that Manhua, the Chinese form of comics, started to formalize, a process that lasted up until 1927.[25] The introduction of lithographic printing methods derived from the West was a critical step in expanding the form within China during the early 20th century. Like Europe and the United States, satirical drawings were appearing in newspapers and periodicals, initially based on works from those countries. One of the first magazines of satirical cartoons was based on the United Kingdom's Punch, snappily re-branded as "The China Punch".[25] The first piece drawn by a person of Chinese nationality was "The Situation in the Far East" from Tse Tsan-Tai, printed 1899 in Japan. By the 1920s a market was established for palm-sized picture books like Lianhuanhua.[26] In 1884, Ally Sloper's Half Holiday was published, a magazine whose selling point was a strip featuring the titular character, and widely regarded as the first comic strip magazine to feature a recurring character. In 1890 two more comic magazines debuted to the British public, Comic Cuts and Illustrated Chips, establishing the tradition of the British comic as an anthology periodical containing comic strips.[16] Yellow Kid, created by Richard F. Outcault.In the United States, R.F. Outcault's work in combining speech balloons and images on Hogan's Alley and The Yellow Kid has been credited as establishing the form and conventions of the comic strip.[27] Although this view is being revised by current academics, who are uncovering many other works which combine speech bubbles and a multi image narrative, the popularity of Outcalt and the position of the strip in a newspaper is credited as being the driving force of the form.[28][29] [edit] The 20th century and the mass medium The examples and perspective in this article may not represent a worldwide view of the subject. Please improve this article or discuss the issue on the talk page. The 1920s and 1930s saw further booms within the industry. In China a market was established for palm-sized picture books like Lianhuanhua,[26] while the market for comic anthologies in Britain had turned to targeting children through juvenile humor, with The Dandy and The Beano launched. In Belgium, Hergé created the Tintin newspaper strip for a comic supplement; this was successfully collected in a bound album and created a market for further such works. The same period in the United States had seen newspaper strips expand their subject matter beyond humour, with action, adventure and mystery strips launched. The collection of such material also began, with The Funnies, a reprint collection of newspaper strips, published in tabloid size in 1929. A market for such comic books soon followed, and by 1938 publishers were printing original material in the format. It was at this point that Action Comics#1 launched, with Superman as the cover feature. The popularity of the character swiftly enshrined the superhero as the defining genre of American comics, and although the genre fell out of favour in the 1950s, the 1960s saw it re-establish its domination of the form until the late 20th century. In Japan, a country with a long tradition for illustration and whose writing system evolved from pictures, comics were hugely popular. Referred to as manga, the Japanese form was established after World War II by Osamu Tezuka, who expanded the page count of a work to number in the hundreds, and who developed a filmic style, heavily influenced by the Disney animations of the time. The Japanese market expanded its range to cover works in many genres, from juvenile fantasy through romance to adult fantasies. Japanese manga is typically published in large anthologies, containing several hundred pages, and the stories told have long been used as sources for adaptation into animated film. In Japan such films are referred to as anime, and many creators will work in both forms simultaneously, leading to an intrinsic linking of the two forms. During the latter half of the 20th century comics have become a very popular item for collectors and from the 1970s American comics publishers have actively encouraged collecting and shifted a large portion of comics publishing and production to appeal directly to the collector's community. Alan Moore, whose works have done much to popularise the medium.Writing in 1972, Sir Ernst Gombrich certainly felt Töpffer to have evolved a new pictorial language, that of an abbreviated art style, which worked by allowing the audience to fill in gaps with their own imagination.[30] The modern double usage of the term comic, as an adjective describing a genre, and a noun designating an entire medium, has been criticised as confusing and misleading. In the 1960s and 1970s, underground cartoonists used the spelling comix to distinguish their work from mainstream newspaper strips and juvenile comic books; ironically, although their work was written for an adult audience, it was usually comedic in nature as well, so the "comic" label was still appropriate.[31] The term graphic novel was popularised in the late 1970s, having been coined at least two decades previous, to distance the material from this confusion.[32] In the 1980s comics scholarship started to blossom in the U.S.,[33] and a resurgence in the popularity of comics was seen, with Alan Moore and Frank Miller producing notable superhero works and Bill Watterson's Calvin & Hobbes being syndicated. In 2005 Robert Crumb's work was exhibited in galleries both sides of the Atlantic, and The Guardian newspaper devoted its tabloid supplement to a week long exploration of his work and idioms.[34] [edit] Forms Carl Barks, Donald Duck comics artist, signing autographs in 1994.Comics have been presented within a wide number of publishing and typographical formats, from the very short panel cartoon to the more lengthy graphic novel. The cartoon, traditionally containing satirical or humorous content in the manner of those seen in The New Yorker or Private Eye, originate from the mid nineteenth century. This form of comics is still popular, although the last few years has seen a reduction in the number of editorial cartoonists employed in the US media.[35] Although there is some dispute as to whether the cartoon constitutes a form of comics, a precursor or a related form, it has been argued that since the cartoon both combines words with image and constructs a narrative, it merits inclusion as a form of comics. The comic strip is simply a sequence of cartoons which unite to tell a story within that sequence, and were originally known as strip cartoons. Originally the term comic strip was used to apply to any sequence of cartoons, no matter the venue of publication or length of the sequence, but now, mainly in the United States, the term refers to the strips published in newspapers. These strips are now typically humorous or satirical strips, such as Hägar the Horrible and Doonesbury, but have often been action themed, educational or even biographical. In the United States the term "comics" is sometimes used to describe the page of a newspaper upon which comic strips are found, with the term "comic" quickly adopting through popular usage to refer to the form rather than the content.[36][37] Said pages are also referred to as the "funny pages", and comics are hence sometimes called "the funnies".[38] In the United Kingdom, the term comic strip is still applied to the longer stories which appear in comics such as 2000 AD or The Beano. [edit] Publication formats Over time a number of formats have become closely associated with the form, from the comic book to the webcomic. The American comic book originated in the early part of the twentieth century, and grew from magazines which repackaged comic strips. Eventually, original material was commissioned, and the material developed from its humorous origins to encompass adventure stories, romance, war and superheroes, with the latter genre coming to dominate the comic book publishing industry in the latter parts of the twentieth century. Although referred to as comic books, these publications are actually more akin to magazines, having soft covers printed on glossy paper, with the interiors consisting of newsprint quality paper or higher grade. In Europe, magazines were always a venue for original material in the form, and such comic magazines or comic books soon grew into anthologies, in which a number of stories would be serialised. In continental Europe a market soon established itself to support collections of these strips. All of these publications are generally referred to as "comics" for short, with typical American and British comic books or magazines running 32 pages, including advertisements and letter column. (These are sometimes known as 36-page books, counting the covers.) European comic magazines have wildly varying page numbers, currently ranging mostly between 52 and 120 pages, while European comic albums traditionally had between 32 and 62 pages. Graphic novels on display for sale in a specialist shop.In the United States, when a publisher collects previously serialised stories, such a collection is commonly referred to as either a trade paperback or as a graphic novel. These are books, typically squarebound and published with a card cover, containing no adverts. They generally collect a single story, which has been broken into a number of chapters previously serialised in comic books, with the issues collectively known as a story arc. Such trade paperbacks can contain anywhere from four issues (for example, there is Kingdom Come by Mark Waid and Alex Ross) to as many as twenty (The Death of Superman). In continental Europe, especially Belgium and France, such collections are usually somewhat larger in size and published with a hardback cover, a format established by the Tintin' series in the 1930s. These are referred to as comic albums,[39] a term which in the United States refers to anthology books. The United Kingdom has no great tradition of such collections, although during the 1980s Titan publishing launched a line collecting stories previously published in 2000 AD. The graphic novel format is similar to typical book publishing, with works being published in both hardback and paperback editions. The term has proved a difficult one to fully define, and refers not only to fiction but also factual works, and is also used to describe collections of previously serialised works as well as original material. Some publishers will distinguish between such material, using the term "original graphic novel" for work commissioned especially for the form. Newspaper strips also get collected, both in Europe and in the United States, and these are sometimes also referred to as graphic novels.[citation needed] In the US, the selection of strips to be reprinted in books has often been somewhat haphazard, but there have been several recent efforts to produce complete collections of the more popular newspaper strips. In the UK it is traditional for the children's comics market to release comic annuals, which are hardback books containing strips, as well as text stories and puzzles and games.[40][41][42] In the United States, the comic annual was a summer publication, typically an extended comic book, with storylines often linked across a publisher's line of comics. Webcomics, also known as online comics and web comics, are comics that are available on the Internet. Many webcomics are exclusively published online, while some are published in print but maintain a web archive for either commercial or artistic reasons. With the Internet's easy access to an audience, webcomics run the gamut from traditional comic strips to graphic novels and beyond. Webcomics are similar to self-published print comics in that almost anyone can create their own webcomic and publish it on the Web. Currently, there are thousands of webcomics available online, with some achieving popular, critical, or commercial success. The Perry Bible Fellowship is syndicated in print, while Brian Fies' Mom's Cancer won the inaugural Eisner Award for digital comics in 2005 and was subsequently collected and published in hardback. The comics form can also be utilized to convey information in mixed media. For example, strips designed for educative or informative purposes, notably the instructions upon an airplane's safety card. These strips are generally referred to as instructional comics. The comics form is also utilized in the film and animation industry, through storyboarding. Storyboards are illustrations displayed in sequence for the purpose of visualizing an animated or live-action film. A storyboard is essentially a large comic of the film or some section of the film produced beforehand to help the directors and cinematographers visualize the scenes and find potential problems before they occur. Often storyboards include arrows or instructions that indicate movement. Like many other media, comics can also be self-published. One typical format for self-publishers and aspiring professionals is the minicomic, typically small, often photocopied and stapled or with a handmade binding. These are a common inexpensive way for those who want to make their own comics on a very small budget, with mostly informal means of distribution. A number of cartoonists have started this way and gone on to more traditional types of publishing, while other more established artists continue to produce minicomics on the side. [edit] Artistic medium [edit] Defining comics Scholars disagree on the definition of comics; some claim its printed format is crucial, some emphasize the interdependence of image and text, and others its sequential nature. The term as a reference to the medium has also been disputed. Will Eisner, who established the term sequential art and is considered to have popularised the graphic novel.In 1996, Will Eisner published Graphic Storytelling, in which he defined comics as "the printed arrangement of art and balloons in sequence, particularly in comic books."[43] Eisner's earlier, more influential definition from 1985's Comics and Sequential Art described the technique and structure of comics as sequential art, "...the arrangement of pictures or images and words to narrate a story or dramatize an idea."[44] In Understanding Comics (1993) Scott McCloud defined sequential art and comics as: "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer";[45] this definition excludes single-panel illustrations such as The Far Side, The Family Circus, and most political cartoons from the category, classifying those as cartoons. By contrast, The Comics Journal's "100 Best Comics of the 20th Century",[46] included the works of several single panel cartoonists and a caricaturist, and academic study of comics has included political cartoons.[47] R.C. Harvey, in his essay Comedy At The Juncture Of Word And Image, offered a competing definition in reference to McCloud's: "...comics consist of pictorial narratives or expositions in which words (often lettered into the picture area within speech balloons) usually contribute to the meaning of the pictures and vice versa."[48] This, however, ignores the existence of wordless comics. Most agree that animation, which creates the optical illusion of movement within a static physical frame, is a separate form, although ImageTexT, a peer-reviewed academic journal focusing on comics, accepts submissions relating to animation as well,[49] and the third annual Conference on Comics at the University of Florida focused on comics and animation.[50] [edit] Art styles Scott McCloud, whose work Understanding Comics identified the different styles of art used within comics.While almost all comics art is in some sense abbreviated, and also while every artist who has produced comics work brings their own individual approach to bear, some broader art styles have been identified. The basic styles have been identified as realistic and cartoony, with a huge middle ground for which R. Fiore has coined the phrase liberal. Fiore has also expressed distaste with the terms realistic and cartoony, preferring the terms literal and freestyle, respectively.[51] Scott McCloud has created The Big Triangle[52] as a tool for thinking about comics art. He places the realistic representation in the bottom left corner, with iconic representation, or cartoony art, in the bottom right, and a third identifier, abstraction of image, at the apex of the triangle. This allows the placement and grouping of artists by triangulation. The cartoony style is one which utilises comic effects and a variation of line widths as a means of expression. Characters here tend to have rounded, simplified anatomy. Noted exponents of this style are Carl Barks and Jeff Smith.[51] The realistic style, also referred to as the adventure style is the one developed for use within the adventure strips of the 1930s. They required a less cartoony look, focusing more on realistic anatomy and shapes, and used the illustrations found in pulp magazines as a basis.[53] This style became the basis of the superhero comic book style, since Joe Shuster and Jerry Siegel originally worked Superman up for publication as an adventure strip.[54] Scott McCloud also notes that in several traditions, there is a tendency to have the main characters drawn rather simplistic and cartoony, while the backgrounds and environment are depicted realistically. Thus, he argues, the reader easily identifies with the characters, (as they are similar to one's idea of self), whilst being immersed into a world, that's three-dimensional and textured.[55] Good examples of this phenomenon include Herge's The Adventures of Tintin (in his "personal trademark" Ligne claire style), Will Eisner's Spirit and Osamu Tezuka's Buddha, among many others. [edit] The language As noted above, two distinct definitions have been used to define comics as an art form: the combination of both word and image; and the placement of images in sequential order. Both definitions are lacking, in that the first excludes any sequence of wordless images; and the second excludes single panel cartoons such as editorial cartoons. The purpose of comics is certainly that of narration, and so that must be an important factor in defining the art form. Comics, as sequential art, emphasise the pictorial representation of a narrative. This means comics are not an illustrated version of standard literature, and while some critics argue that they are a hybrid form of art and literature, others contend comics are a new and separate art; an integrated whole, of words and images both, where the pictures do not just depict the story, but are part of the telling. In comics, creators transmit expression through arrangement and juxtaposition of either pictures alone, or word(s) and picture(s), to build a narrative. The narration of a comic is set out through the layout of the images, and while there may be many people who work on one work, like films, there is one vision of the narrative which guides the work. The layout of images on a page can be utilised by artists to convey the passage of time, to build suspense or to highlight action.[56] For a fuller exploration of the language, please see Comics vocabulary. [edit] Comic creation An artist sketching out a comics pageComics artists will generally sketch a drawing in pencil before going over the drawing again in ink, using either a dip pen or a brush. Artists will also make use of a lightbox when creating the final image in ink. Some artists, Brian Bolland being a notable example,[57] are now using digital means to create artwork, with the published work being the first physical appearance of the artwork. By many definitions (including McCloud's, above) the definition of comics extends to digital media such as webcomics and the mobile comic. The nature of the comics work being created determines the number of people who work upon its creation, with successful comic strips and comic books being produced through a studio system, in which an artist will assemble a team of assistants to help in the creation of the work. However, works from independent companies, self-publishers or those of a more personal nature can be produced by as little as one creator. Within the comic book industry of the United States, the studio system has come to be the main method of creation. Through its use by the industry, the roles have become heavily codified, and the managing of the studio has become the company's responsibility, with an editor discharging the management duties. The editor will assemble a number of creators and oversee the work to publication. Any number of people can assist in the creation of a comic book in this way, from a plotter, a breakdown artist, a penciller, an inker, a scripter, a letterer, and a colorist, with some roles being performed by the same person. In contrast, a comic strip tends to be the work of a sole creator, usually termed a cartoonist. However, it is not unusual for a cartoonist to employ the studio method, particularly when a strip become successful. Mort Walker is one such creator who employed a studio, while Bill Watterson was one such cartoonist who eschewed the studio method, preferring to create the strip himself. Gag, political and editorial cartoonists tend to work alone as well, although again it is not unheard of for a cartoonist to use assistants. [edit] Tools An artist will use a variety of pencils, paper, typically Bristol board, and a waterproof ink. When inking, an artist may choose to use a variety of brushes, dip pens, a fountain pen or a variety of technical pens or markers. Mechanical tints can be employed to add grey tone to an image. An artist might also choose to create his work in paints; either acrylics; gouache; poster paints; or watercolors. Color can also be achieved through crayons, pastels or colored pencils. Eraser, rulers, templates, set squares and a T-square assist in creating lines and shapes. A drawing board gives a good angled surface to work from, with lamps supplying necessary lighting. A light box allows an artist to trace his pencil work when inking, allowing for a looser finish. Knives and scalpels will fill a variety of tasks, including cutting board or scraping mistakes. A cutting mat will assist when cutting paper. Process white is a thick opaque white handy for covering mistakes, while adhesives and tapes are helpful in composition where an image may need to be assembled from different sources. [edit] Computer generated comics With the growth of computer processing power and ownership, there are now an increasing number of examples of comic books or strips where the art is made by using computers, either mixing it with hand drawings or replacing hand drawing completely. Dave McKean is one artist who combines both paper and the digital methods of composition for comics,[58] while in 1998 Pete Nash pioneered the use of fully digitised 3D artwork on his Striker comic strip for The Sun.[59] Computers are also now widely used for both lettering and coloring. [edit] Comics in higher education A growing number of universities around the world are recognizing the academic legitimacy of comics studies, leading to a greater amount of comics courses being offered at the college level.[60] [edit] See also Comics portal Cartoon Research Library Comics vocabulary [edit] Notes ^ "comic adjective" The Oxford Dictionary of English (revised edition). Ed. Catherine Soanes and Angus Stevenson. Oxford University Press, 2005. Oxford Reference Online. Oxford University Press. Surrey Libraries. 21 April 2008 ^ Teresa Grainger (2004). "Art, Narrative and Childhood" Literacy 38 (1), 66–67. doi:10.1111/j.0034-0472.2004.03801011_2.x ^ Dowd, Douglas Bevan; Hignite, Todd (2006). Strips, Toons, and Bluesies: Essays in Comics and Culture. Princeton Architectural Press. ISBN 1568986211. ^ Varnedoe, Kirk; Gopnik, Adam (1990). Modern Art and Popular Culture: Readings in High & Low. Abrams in association with the Museum of Modern Art. ISBN 0870703560. ^ Bollinger, Tim (2000). Nga Pakiwaituhi o Aotearoa: New Zealand Comics, Horrocks, Dylan (ed.). ed. Comics in the Antipodes: a low art in a low place. Hicksville Press. ISBN 0-473-06708-0. ^ Gold, Glen David (2005). Masters of American Comics, Carlin, John, Karasik, Paul & Walker, Brian (ed.). ed. Jack Kirby. Yale University Press. pp. 262. ISBN 030011317X. ^ Fielder, Leslie (2004) [1955]. Arguing Comics: Literary Masters on a Popular Medium, Heer, Jeet & Worcester, Kent (ed.). ed. The Middle Against Both Ends. Univ. Press of Mississippi. pp. 132. ISBN 1578066875. ^ Groensteen, Thierry (2000). Comics & Culture: Analytical and Theoretical Approaches to Comics, Anne Magnussen & Hans-Christian Christiansen (ed.). ed. Why are Comics Still in Search of Cultural Legitimization?. Museum Tusculanum Press. ISBN 8772895802. ^ Gilbert Seldes, The 7 Lively Arts, Harper, 1924, ASIN B000M1MMBC ^ Gilbert Seldes, The 7 Lively Arts, Harper, 1924, ASIN B000M1MMBC ^ Martin Sheridan, Comics and their Creators, Ralph T. Hale and Company, 1942, ASIN B000Q8QGC2 ^ Dez Skinn, Comic Art Now, Collins Design, 2008, ISBN 978-0061447396. ^ Scott McCloud, Understanding Comics, Harper, 1994, ISBN 978-0060976255 ^ Perry & Aldridge, 1989. p.11 ^ McCloud, 1993. pp.11-14 ^ a b Sabin, 1993. pp.13-14 ^ Smolderen, Thierry (Summer, 2006) "Of Labels, Loops, and Bubbles: Solving the Historical Puzzle of the Speech Balloon". Comic Art 8. pp.90-112 ^ Beerbohm, Robert (2003) "The Adventures of Obadiah Oldbuck Part III". The Search For Töpffer In America. http://scoop.diamondgalleries.com/scoop_article.asp?ai=2808&si=124. ^ Translated by Weiss, E. in Enter: The Comics, University of Nebraska Press, Lincoln, pp.4. (1969) ^ Original French, extract ^ Original French, extract ^ Varnum & Gibbons, 2001. pp.77-78 ^ "Comics". St James Encyclopedia of pop culture (2002). http://www.findarticles.com/p/articles/mi_g1epc/is_tov/ai_2419100313. ^ "comic strip". The Columbia Encyclopedia, Sixth Edition. 2001. http://www.bartleby.com/65/co/comicstr.html. ^ a b Wong, Wendy Siuyi (2002). Hong Kong Comics: A History of Manhua. Princeton Architectural Press. ISBN 1-56898-269-0. ^ a b Lent, John A. [2001] (2001) Illustrating Asia: Comics, Humor Magazines, and Picture Books. University of Hawaii Press. ISBN 0824824717 ^ Sabin, 1993. pp.133-134 ^ Marschall, Richard (February, 1989). "Oh You Kid". The Comics Journal 127, p. 72-7 ^ Walker, Brian (2004) the comics: Before 1945. Harry N. Abrams, Inc. (United States). ISBN 9780810949706 ^ Gombrich, E.H. (1972). Art and illusion: A study in the psychology of pictorial representation. London: Phaidon Press. ISBN 0-691-01750-6. ^ Arnold, 2001. ^ Var. (2003-4) "The history of the term 'graphic novel' . . .". As Archived At http://www.geocities.com/rucervine/. http://www.geocities.com/rucervine/. Retrieved on June 26 2005. ^ Taylor, Laurie; Martin, Cathlena; & Houp, Trena (2004) "Introduction". ImageTexT Exhibit 1 (Fall 2004). http://www.english.ufl.edu/imagetext/archives/exhibit1/introduction.shtml. Retrieved on June 26 2005. ^ Var. (March 7-11, 2005) "G2 in Crumbland". The Guardian Newspaper Special Report. http://www.guardian.co.uk/arts/crumb/0,15829,1430764,00.html. Retrieved on June 26 2005. ^ Chris Lamb, Save the editorial cartoonists, Feb 18, 2004. The Digital Museum of Modern Art. Retrieved 2007-06-06. ^ Sabin, 1993. pp.137-139 ^ Bell, John and Viau, Michel (2002). "Emergence of the Comic Book, 1929-1940". Beyond the Funnies. http://www.collectionscanada.ca/comics/027002-8200-e.html. Retrieved on May 30 2005. ^ Harvey, R.C. (1994). The art of the funnies: An aesthetic history. University Press of Mississippi ^ Ferguson, Andrew (1999). "Tintin Books - US/English editions". Hergé and Tintin. http://www.princeton.edu/~ferguson/adw/tintin/biblio.htm. Retrieved on June 25 2005. ^ Ezard, John (Dec 24, 2005) "They dealt with Dan. Now Dana and Yasmin target Dennis" The Guardian. p.7 ^ Jones, Gwyn (Feb 18, 2006) "Beano! It's just Dandy to have an Eagle eye...". The Independent. p.20 ^ Brown, Michael (Dec 7, 2002) "Review: Children's history: Real life" The Guardian. p.36 ^ Eisner, Will (1996). Graphic Storytelling. Poorhouse Press. ISBN 0-9614728-2-0. ^ Eisner, Will (1990 Expanded Edition, reprinted 2001). Comics & Sequential Art. Poorhouse Press. ISBN 0-9614728-1-2. ^ McCloud, 1993. p.7-9 ^ Spurgeon, Tom et al (February 1999) "Top 100 (English Language) Comics of the Century". The Comics Journal 210. ^ [1] ^ Varnum & Gibbons, 2001. p.76 ^ [2] ^ [3] ^ a b Fiore, 2005. p.1 ^ McCloud, 1993. ^ Fiore. ^ Santos, 1998. The Golden Era... June 1938 to 1945, Part I ^ McCloud, 1993. ^ Driest, Joris (2005). "Subjective Narration in Comics". Retrieved May 26, 2005. PDF ^ (2003), "The Moles Interview No 5: Brian Bolland". http://www.theresidents.co.uk/articles/interviews/bolland.htm. Retrieved on June 26 2005. ^ Brayshaw, Christopher (June, 1997) "The Dave McKean interview" The Comics Journal 196. ^ BBC Staff (2005-05-15). "Whistle blown on Striker magazine". http://news.bbc.co.uk/1/hi/england/kent/4549375.stm. ^ Cornwell, Lisa (2007-12-15). "Schools add, expand comics arts classes". USA Today. http://www.usatoday.com/news/education/2007-12-15-comicsclasses_N.htm. Retrieved on 2008-11-11. [edit] Bibliography Arnold, Andrew (Apr. 05, 2001). "Does X Mark the Spot?". Time. Accessed May 30, 2005. Fiore. R (2005). "Adventures in Nomenclature: Literal, Liberal and Freestyle". The Comics Journal Message Board. http://www.tcj.com/messboard/ubb/Forum2/HTML/003611.html. Retrieved on June 14 2005. McCloud, Scott (1993). Understanding Comics: The Invisible Art. Kitchen Sink Press. ISBN 0-87816-243-7. Perry, George; Aldridge, Alan (1989 reprint with introduction). The Penguin Book Of Comics. Penguin. ISBN 0-14-002802-1. Sabin, Roger (1993). Adult Comics An Introduction. Routledge. ISBN 0-415-04419-7. Santos, Derek (1998) "Comic History". The Comic Page. http://www.dereksantos.com/comicpage/index.html. Retrieved on June 26 2005. Varnum, Robin & Gibbons, Christina T. editors (2001). The Language of Comics: Word and Image. University Press Mississippi. ISBN 1-57806-414-7. Williams, Jeff Comics: A tool of subersion? Journal of Criminal Justice and Popular Culture, 2(6) (1994) 129-146 [edit] Further reading David Carrier, The Aesthetics of Comics, Penn State Press, 2002 ISBN 0-271-02188-8 Will Eisner Comics and Sequential Art Poorhouse Press 1985 ISBN 0-9614728-0-4 Will Eisner Graphic Storytelling Poorhouse Press 1995 ISBN 0-9614728-3-9 ed. Gary Groth & R. Fiore The New Comics Berkley Books 1988 ISBN 0425113663 Maurice Horn ed. The World Encyclopedia of Comics Avon 1977 ISBN 0877543232 Scott McCloud Understanding Comics - the Invisible Art HarperCollins 1994 ISBN 0-613-02782-5 Roger Sabin Comics, Comix and Graphic Novels: a History of Comic Art Phaidon 1996 ISBN 0714839930 Coulton Waugh The Comics The Macmillan Company 1947 ISBN 0878054995 [edit] External links Find more about Comics on Wikipedia's sister projects: Definitions from Wiktionary Textbooks from Wikibooks Quotations from Wikiquote Source texts from Wikisource Images and media from Commons News stories from Wikinews Learning resources from WikiversityCartoon Research Library Comic Art Collection of Michigan State University Comic Book Wiki The Grand Comics database Comics Archives and Editorial Cartoons Comics Scholars' Discussion List Academic forum ImageTexT Interdisciplinary Comics Studies Stories Without Words:A Bibliography with Annotations (access via Wayback Machine Internet Archive) The Cartoon Art Museum of San Francisco Comics exhibitions The Senate Investigation Excerpt from "Seal of Approval: The History of the Comics Code" TIME Archives' Collection of Comics [show]v • d • eComics around the world Americas Argentina · Canada · Mexico · United States Asia China · India · Japan · Korea · Philippines Europe Belgium · Czech Republic · France and Belgium combined · Germany · Hungary · Italy · The Netherlands · Poland · Serbia · United Kingdom Oceania Australia [show]v • d • eComics: Genres & themes Formats Comic book (minicomic) · Comic strip (Sunday strip, Comic strip formats) · Digital comics · Graphic novel · Mobile comic · Motion comics · Underground comix · Webcomic (Hypercomics · Infinite canvas · Sprite comic) Creators Category:Comics artists · Category:Comics writers Studies History:Golden Age, Silver Age, Bronze Age, Modern Age (Events) · Women in comics · LGBT themes in comics Genres Adult comics · Alternative comics · Bad girl art · Crime comics · Good girl art · Horror comics · Romance comics · Superhero · War comics Tropes Superhero · Supervillain · Retrieved from "http://en.wikipedia.org/wiki/Comics" Categories: Art genres | Comics
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2009 NCAA Basketball Tournament! List of NCAA Division 1 Teams & Coaches at 227!
America East Conference Albany - Will Brown Binghamton - Kevin Broadus Boston University - Dennis Wolff Hartford - Dan Leibovitz Maine - Ted Woodward New Hampshire - Bill Herrion Stony Brook - Steve Pikiell UMBC - Randy Monroe Vermont - Mike Lonergan 227's NCAA Basketball Tournament! America East Conference
Atlantic 10 Conference Charlotte - Bobby Lutz Dayton - Brian Gregory Duquesne - Ron Everhart Fordham - Dereck Whittenburg George Washington - Karl Hobbs La Salle - John Giannini Rhode Island - Jim Baron Richmond - Chris Mooney St. Bonaventure - Mark Schmidt Saint Joseph's - Phil Martelli Saint Louis - Rick Majerus Temple - Fran Dunphy UMass - Derek Kellogg Xavier - Sean Miller 227's NCAA Basketball Tournament! Atlantic 10 Conference
Atlantic Coast Conference Boston College - Al Skinner Clemson - Oliver Purnell Duke - Mike Krzyzewski Florida State - Leonard Hamilton Georgia Tech - Paul Hewitt Maryland - Gary Williams Miami (Florida) - Frank Haith North Carolina - Roy Williams North Carolina State - Sidney Lowe Virginia - Dave Leitao Virginia Tech - Seth Greenberg Wake Forest - Dino Gaudio 227's NCAA Basketball Tournament! Atlantic Coast Conference
Atlantic Sun Conference Belmont - Rick Byrd Campbell - Robbie Laing East Tennessee State - Murry Bartow Florida Gulf Coast - Dave Balza Jacksonville - Cliff Warren Kennesaw State - Tony Ingle Lipscomb - Scott Sanderson Mercer - Bob Hoffman North Florida - Matt Kilcullen Stetson - Derek Waugh USC Upstate - Eddie Payne 227's NCAA Basketball Tournament! Atlantic Sun Conference
Big 12 Conference Baylor - Scott Drew Colorado - Jeff Bzdelik Iowa State - Greg McDermott Kansas - Bill Self Kansas State - Frank Martin Missouri - Mike Anderson Nebraska - Doc Sadler Oklahoma - Jeff Capel III Oklahoma State - Travis Ford Texas - Rick Barnes Texas A&M - Mark Turgeon Texas Tech - Pat Knight 227's NCAA Basketball Tournament! Big 12 Conference
Big East Conference Cincinnati - Mick Cronin Connecticut - Jim Calhoun DePaul - Jerry Wainwright Georgetown - John Thompson III Louisville - Rick Pitino Marquette - Buzz Williams Notre Dame - Mike Brey Pittsburgh - Jamie Dixon Providence - Keno Davis Rutgers - Fred Hill St. John's - Norm Roberts Seton Hall - Bobby Gonzalez South Florida - Stan Heath Syracuse - Jim Boeheim Villanova - Jay Wright West Virginia - Bobby Huggins 227's NCAA Basketball Tournament! Big East Conference
Big Sky Conference Eastern Washington - Kirk Earlywine Idaho State - Joe O'Brien Montana - Wayne Tinkle Montana State - Brad Huse Northern Arizona - Mike Adras Northern Colorado - Tad Boyle Portland State - Ken Bone Sacramento State - Brian Katz Weber State - Randy Rahe 227's NCAA Basketball Tournament! Big Sky Conference
Big South Conference Charleston Southern - Barclay Radebaugh Coastal Carolina - Cliff Ellis Gardner-Webb - Rick Scruggs High Point - Bart Lundy Liberty - Ritchie McKay Presbyterian - Gregg Nibert Radford - Brad Greenberg UNC-Asheville - Eddie Biedenbach VMI - Duggar Baucom Winthrop - Randy Peele 227's NCAA Basketball Tournament! Big South Conference
Big Ten Conference Illinois - Bruce Weber Indiana - Tom Crean Iowa - Todd Lickliter Michigan - John Beilein Michigan State - Tom Izzo Minnesota - Tubby Smith Northwestern - Bill Carmody Ohio State - Thad Matta Penn State - Ed DeChellis Purdue - Matt Painter Wisconsin - Bo Ryan 227's NCAA Basketball Tournament! Big Ten Conference
Big West Conference Cal Poly - Kevin Bromley Cal State Fullerton - Bob Burton Cal State Northridge - Bobby Braswell Long Beach State - Dan Monson Pacific - Bob Thomason UC Davis - Gary Stewart UC Irvine - Pat Douglass UC Riverside - Jim Wooldridge UC Santa Barbara - Bob Williams 227's NCAA Basketball Tournament! Big West Conference
Colonial Athletic Association Delaware - Monte Ross Drexel - Bruiser Flint George Mason - Jim Larranaga Georgia State - Rod Barnes Hofstra - Tom Pecora James Madison - Matt Brady Northeastern - Bill Coen Old Dominion - Blaine Taylor Towson - Pat Kennedy UNC-Wilmington - Benny Moss Virginia Commonwealth - Anthony Grant William & Mary - Tony Shaver 227's NCAA Basketball Tournament! Colonial Athletic Association
Conference USA East Carolina - Mack McCarthy Houston - Tom Penders Marshall - Donnie Jones Memphis - John Calipari Rice - Ben Braun Southern Methodist - Matt Doherty Southern Mississippi - Larry Eustachy Tulane - Dave Dickerson Tulsa - Doug Wojcik UAB - Mike Davis UCF - Kirk Speraw UTEP - Tony Barbee 227's NCAA Basketball Tournament! Conference USA
Horizon League - Butler - Brad Stevens Cleveland State - Gary Waters Detroit - Ray McCallum Loyola (Chicago) - Jim Whitesell UIC - Jimmy Collins UW-Green Bay - Tod Kowalczyk UW-Milwaukee - Rob Jeter Valparaiso - Homer Drew Wright State - Brad Brownell Youngstown State - Jerry Slocum 227's NCAA Basketball Tournament! Horizon League
Independents Bryant - Tim O'Shea Cal State Bakersfield - Keith Brown Chicago State - Benjy Taylor Houston Baptist - Ron Cottrell Longwood - Mike Gillian New Jersey Institute of Technology - Jim Engles North Carolina Central - Henry Dickerson Savannah State - Horace Broadnax SIU-Edwardsville - Lennox Forrester Texas-Pan American - Tom Schuberth Utah Valley - Dick Hunsaker 227's NCAA Basketball Tournament! NCAA Division I independent schools (basketball)
Ivy League Brown - Jesse Agel Columbia - Joe Jones Cornell - Steve Donahue Dartmouth - Terry Dunn Harvard - Tommy Amaker Penn - Glen Miller Princeton - Sydney Johnson Yale - James Jones 227's NCAA Basketball Tournament! Ivy League
Metro Atlantic Athletic Conference Canisius - Tom Parrotta Fairfield - Ed Cooley Iona - Kevin Willard Loyola (Maryland) - Jimmy Patsos Manhattan - Barry Rohrssen Marist - Chuck Martin Niagara - Joe Mihalich Rider - Tommy Dempsey St. Peter's - John Dunne Siena - Fran McCaffery 227's NCAA Basketball Tournament! Mid-American Conference
Mid-American Conference Akron – Keith Dambrot Ball State – Billy Taylor Bowling Green – Louis Orr Buffalo – Reggie Witherspoon Central Michigan – Ernie Ziegler Eastern Michigan – Charles Ramsey Kent State – Geno Ford Miami – Charlie Coles Northern Illinois – Ricardo Patton Ohio – John Groce Toledo – Gene Cross Western Michigan – Steve Hawkins 227's NCAA Basketball Tournament! Mid-American Conference
Mid-Eastern Athletic Conference Bethune-Cookman - Clifford Reed Coppin State - Ron Mitchell Delaware State - Greg Jackson Florida A&M - Mike Gillespie Hampton - Kevin Nickelberry Howard - Gil Jackson Maryland-Eastern Shore - Meredith Smith Morgan State - Todd Bozeman Norfolk State - Anthony Evans North Carolina A&T - Jerry Eaves South Carolina State - Tim Carter Winston-Salem State - Bobby Collins 227's NCAA Basketball Tournament! Mid-Eastern Athletic Conference
Missouri Valley Conference Bradley - Jim Les Creighton - Dana Altman Drake - Mark Phelps Evansville - Marty Simmons Illinois State - Tim Jankovich Indiana State - Kevin McKenna Missouri State - Cuonzo Martin Northern Iowa - Ben Jacobson Southern Illinois - Chris Lowery Wichita State - Gregg Marshall 227's NCAA Basketball Tournament! Missouri Valley Conference
Mountain West Conference Air Force - Jeff Reynolds Brigham Young - Dave Rose Colorado State - Tim Miles New Mexico - Steve Alford San Diego State - Steve Fisher Texas Christian - Neil Dougherty UNLV - Lon Kruger Utah - Jim Boylen Wyoming - Heath Schroyer 227's NCAA Basketball Tournament! Mountain West Conference
Northeast Conference Central Connecticut State - Howie Dickenman Fairleigh Dickinson - Tom Green LIU-Brooklyn - Jim Ferry Monmouth - Dave Calloway Mount St. Mary's - Milan Brown Quinnipiac - Tom Moore Robert Morris - Mike Rice Jr. Sacred Heart - Dave Bike St. Francis (PA) - Don Friday St. Francis (NY) - Brian Nash Wagner - Mike Deane 227's NCAA Basketball Tournament! Northeast Conference
Ohio Valley Conference Austin Peay - Dave Loos Eastern Illinois - Mike Miller Eastern Kentucky - Jeff Neubauer Jacksonville State - James Green Morehead State - Donnie Tyndall Murray State - Billy Kennedy Southeast Missouri - Zac Roman Tennessee-Martin - Bret Campbell Tennessee State - Cy Alexander Tennessee Tech - Mike Sutton 227's NCAA Basketball Tournament! Ohio Valley Conference
Pacific-10 Conference Arizona - Russ Pennell Arizona State - Herb Sendek California - Mike Montgomery Oregon - Ernie Kent Oregon State - Craig Robinson Stanford - Johnny Dawkins UCLA - Ben Howland USC - Tim Floyd Washington - Lorenzo Romar Washington State - Tony Bennett 227's NCAA Basketball Tournament! Pacific-10 Conference
Patriot League American - Jeff Jones Army - Jim Crews Bucknell - Dave Paulsen Colgate - Emmett Davis Holy Cross - Ralph Willard Lafayette - Fran O'Hanlon Lehigh - Brett Reed Navy - Billy Lange 227's NCAA Basketball Tournament! Patriot League
Southeastern Conference Alabama - Philip Pearson Arkansas - John Pelphrey Auburn - Jeff Lebo Florida - Billy Donovan Georgia - Pete Herrmann Kentucky - Billy Gillispie LSU - Trent Johnson Mississippi - Andy Kennedy Mississippi State - Rick Stansbury South Carolina - Darrin Horn Tennessee - Bruce Pearl Vanderbilt - Kevin Stallings 227's NCAA Basketball Tournament! Southeastern Conference
Southern Conference Appalachian State - Houston Fancher Chattanooga - John Shulman The Citadel - Ed Conroy College of Charleston - Bobby Cremins Davidson - Bob McKillop Elon - Ernie Nestor Furman - Jeff Jackson Georgia Southern - Jeff Price Samford - Jimmy Tillette UNC-Greensboro - Mike Dement Western Carolina - Larry Hunter Wofford - Mike Young 227's NCAA Basketball Tournament! Southern Conference
Southland Conference Central Arkansas - Rand Chappell Lamar - Steve Roccaforte McNeese State - Dave Simmons Nicholls State - J. P. Piper Northwestern State - Mike McConathy Sam Houston State - Bob Marlin Southeastern Louisiana - Jim Yarbrough Stephen F. Austin - Danny Kaspar Texas A&M-Corpus Christi - Perry Clark Texas-Arlington - Scott Cross Texas-San Antonio - Brooks Thompson Texas State - Doug Davalos 227's NCAA Basketball Tournament! Southland Conference
Southwestern Athletic Conference Alabama A&M - L. Vann Pettaway Alabama State - Lewis Jackson Alcorn State - Samuel West Arkansas-Pine Bluff - George Ivory Grambling State - Larry Wright Jackson State - Tevester Anderson Mississippi Valley State - Sean Woods Prairie View A&M - Byron Rimm II Southern - Rob Spivery Texas Southern - Tony Harvey 227's NCAA Basketball Tournament! Southwestern Athletic Conference
The Summit League Centenary - Greg Gary IPFW - Dane Fife IUPUI - Ron Hunter North Dakota State - Saul Phillips Oakland - Greg Kampe Oral Roberts - Scott Sutton South Dakota State - Scott Nagy Southern Utah - Roger Reid UMKC - Matt Brown Western Illinois - Derek Thomas 227's NCAA Basketball Tournament! The Summit League
Sun Belt Conference Arkansas-Little Rock - Steve Shields Arkansas State - Dickey Nutt Denver - Joe Scott Florida Atlantic - Mike Jarvis Florida International - Sergio Rouco Louisiana-Lafayette - Robert Lee Louisiana-Monroe - Orlando Early Middle Tennessee - Kermit Davis New Orleans - Joe Pasternack North Texas - Johnny Jones South Alabama - Ronnie Arrow Troy - Don Maestri Western Kentucky - Ken McDonald 227's NCAA Basketball Tournament! Sun Belt Conference
West Coast Conference Gonzaga - Mark Few Loyola Marymount - Rodney Tention Pepperdine - Vance Walberg Portland - Eric Reveno Saint Mary's - Randy Bennett San Diego - Bill Grier San Francisco - Rex Walters Santa Clara - Kerry Keating 227's NCAA Basketball Tournament! West Coast Conference
Western Athletic Conference Boise State - Greg Graham Fresno State - Steve Cleveland Hawai?i - Bob Nash Idaho - Don Verlin Louisiana Tech - Kerry Rupp Nevada - Mark Fox New Mexico State - Marvin Menzies San Jose State - George Nessman Utah State - Stew Morrill 227's NCAA Basketball Tournament! Western Athletic Conference
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Sean Kingston, Justin Timberlake, M.I.A'"Paper Planes!" , Timbaland, 50 Cent, P-Diddy, Kanye West. Rihanna, Chris Brown, T.I.-"Big Things Poppin!" , Rihanna- Hate That I Love You (over 29 million views on YouTube)!, Leona Lewis, Soulja Boy, Britney Spears, Alicia Keys, Avril Lavigne, Alicia Keys- No One, Akon, NE-YO, LL Cool J, Dr. Dre, Snoop Dogg, Dmx, Jay-z, The Notorious B.I.G, 2PAC, Will Smith, Jonas Brothers, Pink "So What!" , Jordin Sparks feta. Chris Brown- "No Air" Official Music Video-over 33 million views on YouTube!), Lil Jon- get low music movie, Ludacris, Ice Cube, Flo Rida feat. T.Pain Music from the Movie Step Up 2 "Low," Chris Brown*Chris Brown feat. T.Pain- Kiss Kiss (over 51 million views on YouTube)!, Chris Brown-"With You," Chris Brown feat. Lil' Wayne (over 56 million views on YouTube!, Chris Brown "YO," Chris Brown-Run It, Chris Brown- Forever, Wu Tang Clan, The Fugees, Jordin Sparks-Tattoo, Rhianna- Cry, Rihanna- unfaithful, Rhianna- Umbrella (over 43 million views on YouTube/You Tube)!, Ashanti, Fergie Fergalicious, Fergie- Clumsy!, Rhianna- Dont' Stop The Music (over 62 million views on YouTube), Avril Lavign- Girlfriend (over 92 million views on YouTube)!, Clay Aiken, Akon, Christina Aguilera-Hurt, Clay Aiken-On My Way Here, All-American Rejects, All-American Rejects-Move Along, All-American Rejects-It Ends Tonight, Ashley Parker Angel, Michael Jackson ("Thriller"), Backstreet Boys, Augustana, Natasha Bedingfeild, Michael Jackson, Natasha Bedingfield feat. Sean Kingston-Love Like This, Natasha Bedingfield-Pocketful of Sunshine and lots more at 227's YouTube Chili!!! Your source for the world's most watched YouTube Music Videos at Jamaal Al-Din's Hoops 227- the everything basketball website!
Also: Jesse McCartney, Ray J,Usher,Elliott Yamin,Jonas Brothers,Fergie,Taylor Swift, Nelly Furtado, Jennifer Lopez, Flyleaf,Maroon 5,Kanye West,Keyshia Cole, The Pussycat Dolls,Colby O'Donis,Ashanti,R. Kelly,Girlicious, Colbi Calliat, Boy George,Mario,Three Days Grace,Beyonce', Gorillaz,Carrie Underwood,3 Doors Down,Finger Eleven, Ginuwine,Baby Bash,Kid Rock,Joe, Gwen Steffani, Billy Ray Cyrus, Danity Kane, Janel Parrish, Ciara, NLT, Fall Out Boy, Josh Turner, Fantasia and more!
