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BALANCED SCORECARD STEP-BY-STEP for GOVERNMENT and NONPROFIT AGENCIES Second Edition
BALANCED SCORECARD STEP-BY-STEP FOR GOVERNMENT AND NONPROFIT AGENCIES Second Edition Paul R. Niven John Wiley & Sons, Inc. ffirs.indd iii 3/4/08 11:06:55 AM ffirs.indd ii 3/4/08 11:06:55 AM BALANCED SCORECARD STEP-BY-STEP FOR GOVERNMENT AND NONPROFIT AGENCIES Second Edition ffirs.indd i 3/4/08 11:06:55 AM ffirs.indd ii 3/4/08 11:06:55 AM BALANCED SCORECARD STEP-BY-STEP FOR GOVERNMENT AND NONPROFIT AGENCIES Second Edition Paul R. Niven John Wiley & Sons, Inc. ffirs.indd iii 3/4/08 11:06:55 AM This book is printed on acid-free paper. ϱ Copyright © 2008 by John Wiley & Sons, Inc. All rights reserved. Published by John Wiley & Sons, Inc., Hoboken, New Jersey. Published simultaneously in Canada. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600, or on the Web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-748-6011, fax 201-748-6008, or online at http://www.wiley.com/go/permissions. -
It's Getting Ugly out There
It’s Getting Ugly Out There The Frauds, Bunglers, Liars, and Losers Who Are Hurting America JACK CAFFERTY John Wiley & Sons, Inc. It’s Getting Ugly Out There It’s Getting Ugly Out There The Frauds, Bunglers, Liars, and Losers Who Are Hurting America JACK CAFFERTY John Wiley & Sons, Inc. Copyright © 2007 by Jack Cafferty. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada Design and composition by Navta Associates, Inc. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copy- right Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically dis- claim any implied warranties of merchantability or fitness for a particular purpose. -
“Flipping the Scripts” of Poverty and Panhandling: Crafting Work, Doing
"FLIPPING THE SCRIPTS" OF POVERTY AND PANHANDLING: CRAFTING WORK, DOING DEMOCRACY, AND CREATING CONNECTIONS THROUGH STREETWISE A dissertation presented to the faculty of the College of Communication of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy David R. Novak August 2006 This dissertation entitled "FLIPPING THE SCRIPTS" OF POVERTY AND PANHANDLING: CRAFTING WORK, DOING DEMOCRACY, AND CREATING CONNECTIONS THROUGH STREETWISE by DAVID R. NOVAK has been approved for the School of Communication Studies and the College of Communication by Lynn M. Harter Associate Professor, School of Communication Studies Gregory J. Shepherd Dean, College of Communication NOVAK, DAVID R., Ph.D., August 2006. Communication Studies "FLIPPING THE SCRIPTS" OF POVERTY AND PANHANDLING: CRAFTING WORK, DOING DEMOCRACY, AND CREATING CONNECTIONS THROUGH STREETWISE (376 pp.) Director of Dissertation: Lynn M. Harter Homelessness is a complex social issue about which there has been no shortage of scholarly discussion. I enter this discussion through a case study of StreetWise, an organization in Chicago, Illinois. StreetWise produces a newspaper that is sold by people without homes or those at risk for homelessness. In bearing witness to the lived experiences of individuals traditionally excluded from public discourses, I provide an interpretation of how human action occurs in recurrent institutional patters of symbolizing that are developed and reinforced by the conditions of living. I work to understand how those discourses are shaped by extra-symbolic forces. Using the theoretical frameworks of American Pragmatism(s) and feminism(s), I utilized four methodologies to collect discourse related to StreetWise, poverty, and homelessness: participatory photography, in-depth interviews, participant observation, and document analysis. -
“One Line Flows, Yeah I Got Some of Those”: Genre, Tradition, and the Reception of Rhythmic Regularity in Grime Flow
“ONE LINE FLOWS, YEAH I GOT SOME OF THOSE”: GENRE, TRADITION, AND THE RECEPTION OF RHYTHMIC REGULARITY IN GRIME FLOW Alexander Harvey Marsden A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfilment of the requirements for the degree of Master of Arts in the Department of Music Chapel Hill 2017 Approved by: Jocelyn R. Neal Allen Anderson Mark Katz © 2017 Alexander Harvey Marsden ALL RIGHTS RESERVED ii ABSTRACT Alexander Harvey Marsden: “One Line Flows, Yeah I Got Some of Those”: Genre, Tradition, and the Reception of Rhythmic Regularity in Grime Flow (Under the direction of Jocelyn Neal) In its musical style and performance practices, the British rap genre grime bears the traces of London’s electronic dance music scene, out of which it emerged in the early 2000s. One such trace is grime’s characteristic style of flow—the rhythmic dimensions of a rapper’s delivery of text—and the role that this plays in encouraging grime’s listeners to move. This thesis argues that grime flow exhibits a tendency towards rhythmic regularity, which differentiates it from flow styles that tend toward irregularity. Drawing from music cognition and music-theoretic work on the pleasures of repetition for listeners, particularly in electronic dance music, it asks what listeners find engaging about grime flow’s regularity. It argues, through an analysis of Skepta’s “That’s Not Me,” that grime flow encourages a participatory mode of listening from its audience, which in turn contributes to a broader orientation towards communality in the genre. -
A Journey of Two Actresses)
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2009 X: The Rise And Fall Of An Asylum Star (a Journey Of Two Actresses) Erika Wilhite University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Wilhite, Erika, "X: The Rise And Fall Of An Asylum Star (a Journey Of Two Actresses)" (2009). Electronic Theses and Dissertations, 2004-2019. 4154. https://stars.library.ucf.edu/etd/4154 X: THE RISE AND FALL OF AN ASYLUM STAR: A JOURNEY OF TWO ACTRESSES by ERIKA WILHITE M.F.A University of Central Florida, 2009 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2009 Major Professor: Christopher Niess Erika Wilhite ii ABSTRACT The performance of X: The Rise and Fall of an Asylum Star, in conjunction with my thesis document, investigates the dichotomy of fantasy and reality for a performer. I compare the creative and emotional journey of Augustine, a young woman hospitalized for hysteria, to my own journey as an actress. Augustine was also performer, for her doctors led her in public demonstrations of the symptoms of hysteria. -
Downloading Music Via Various (Mostly Pirate) Services, Such As Limewire Helped to Push It Still Further
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details LIFE ON ROAD: Symbolic Struggle & The Munpain Yusef Bakkali Thesis submitted for PhD Examination University of Sussex May 2017 2 Declaration I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signed………………………………………. 3 Acknowledgements This thesis came together when, by necessity, I had to turn to my community for support. So for that reason, before anyone else; I would like to thank those who took part in this thesis. I owe a debt of gratitude to Susie Scott and Rachel Thomson for their supervision during my PhD process. Admittedly I might not have been the easiest student, but both of my supervisors stuck with me and supported me, helping me to believe it was possible. For the same reason I’d like to thank Luke Martell who supervised me as an undergraduate and helped me to apply for my PhD studentship; always a generous friend and mentor. -
Rainbow Milk Is His First Novel
Paul Mendez was born in Dudley in 1982. He began writing in 2002, and has contributed to the Times Literary Supplement and the Brixton Review of Books. He lives in London, and Rainbow Milk is his first novel. Copyright Published by Dialogue Books ISBN: 978-0-349-70057-1 All characters and events in this publication, other than those clearly in the public domain, are fictitious and any resemblance to real persons, living or dead, is purely coincidental. Copyright © Paul Mendez 2020 The moral right of the author has been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher. The publisher is not responsible for websites (or their content) that are not owned by the publisher. Dialogue Books Little, Brown Book Group Carmelite House 50 Victoria Embankment London EC4Y 0DZ www.littlebrown.co.uk www.hachette.co.uk Contents About the Author Title Page Copyright Dedication Swan Village July 20, 1959 Great Bridge Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Earl’s Court Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Bruce Grove Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Brixton Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Acknowledgements Credits For James and Bertie SWAN VILLAGE July 20, 1959 This the best summer since we come to England three year ago. It hot, not hot like Jamaica but I don’t feel a cloud pass the sun today, and no rain has fall for a long time now. -
Conservation and Curation: Theoretical and Practical Issues in the Making of a National Collection of British Music Videos 1966–2016
Alphaville: Journal of Film and Screen Media no. 19, 2020, pp. 160–177 DOI: https://doi.org/10.33178/alpha.19.14 Conservation and Curation: Theoretical and Practical Issues in the Making of a National Collection of British Music Videos 1966–2016 Emily Caston Abstract: This article identifies and examines the research methods involved in curating a national collection of British music videos for the British Film Institute and British Library in relation to existing scholarship about the role of the curator, the function of canons in the humanities and the concept of a hierarchy of screen arts. It outlines the process by which a theoretical definition of “landmarks” guided the selection of works alongside a commitment to include a regionally and socially diverse selection of videos to reflect the variations in film style of different music genres. The article also assesses the existing condition of British music video archives: rushes, masters, as well as documents and digital files, and the issues presenting academics and students wishing to study them. It identifies the fact that music video exists in the gaps between two disciplines and industries (popular music studies / the music industry and film and television studies / the screen industries) as an additional challenge to curators of the cultural form, alongside complex matters of licensing and formats. In 2015, I was tasked with creating a national collection of British music videos for the British Film Institute (BFI) and British Library (BL). This was an output from a large research project funded by the Arts and Humanities Research Council (AHRC) 2015–2017 to be accompanied by a monograph (Caston, British Music Videos). -
Björk Reaches Beyond the Binaries
COMMUNICATOR BETWEEN WORLDS: BJÖRK REACHES BEYOND THE BINARIES Edwin F. Faulhaber A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2008 Committee: Kimberly Coates, Advisor Robert Sloane ii ABSTRACT Kimberly Coates, Advisor Icelandic pop star Björk has spent her career breaking down boundaries, blurring lines, and complicating binaries between perceived opposites. Examining a variety of both primary and secondary sources, this study looks at the ways that Björk challenges the binary constructions of “high” and “low” art, nature and technology, and feminism and traditional femininity, and also proposes that her uniquely postmodern approach to blurring boundaries can be a model for a better society in general. This study contends that Björk serves as a symbol of what might be possible if humans stopped constructing boundaries between everything from musical styles to national borders, and as a model for how people can focus on their commonalities while still respecting the freedom of individual expression. This is particularly important in the United States of America, a place where despite its infinite potential for cultural pluralism and collaboration, there are as many (or more) divisions between people based upon race, class, gender, and religion as anywhere else in the world. iii Dedicated to Morgaine iv ACKNOWLEDGMENTS I would like to thank my committee, Dr. Kim Coates and Rob Sloane, for all of their suggestions and encouragement while I wrote this thesis. I would also like to thank Dr. Don McQuarie and Gloria Enriquez Pizana for their support and assistance, as well as a host of wonderful professors who laid the groundwork for this thesis by inspiring me along the way: Rob, Kim, Drs. -
Youtube Nightstick
Iron Claw - Skullcrusher - 1970 - YouTube Damon -[1]- Song Of A Gypsy - YouTube Chromakey Dreamcoat - YouTube Nightstick - Dream of the Witches' Sabbath/Massacre of Innocence (Air Attack) - YouTube Nightstick - Four More Years - YouTube Orange Goblin - The Astral Project - YouTube Orange Goblin - Nuclear Guru - YouTube Skepticism - Sign of the Storm - YouTube Cavity - Chase - YouTube Supercollider - YouTube Satin Black - YouTube Today Is The Day - Willpower - 2 - My First Knife - YouTube Alex G - Gnaw - YouTube Stereo Total - Baby Revolution - YouTube Add N To (X) Metal Fingers In My Body - YouTube 'Samurai' by X priest X (Official) - YouTube Bachelorette - I Want to be Your Girlfriend (Bored to Death ending credits) - YouTube Bachelorette - Her Rotating Head (Official) - YouTube The Bug - 'Fuck a Bitch' ft. Death Grips - YouTube Stumble On Tapes - Girlpool - YouTube Joanna Gruesome - Talking To Yr Dick - YouTube Joanna Gruesome - Lemonade Grrl - YouTube BLACK DIRT OAK "Demon Directive" - YouTube Black Dirt Oak - From The Jaguar Priest - YouTube alternative tv how much longer - YouTube Earthless - Lost in the Cold Sun - YouTube Electric Moon - The Doomsday Machine (2011) [Full Album] - YouTube CWC Music Video Holding Out For a Hero - YouTube La Femme - Psycho Tropical Berlin (Full Album) - YouTube Reverend Alicia - YouTube The Phi Mu Washboard Band - Love Hurts - YouTube BJ SNOWDEN IN CANADA - YouTube j-walk - plastic face (prod. cat soup) - YouTube BABY KAELY "SNEAKERHEAD" AMAZING 9 YEAR OLD RAPPER - YouTube Bernard + Edith - Heartache -
Economics of Music Streaming
House of Commons Digital, Culture, Media and Sport Committee Economics of music streaming Second Report of Session 2021–22 HC 50 House of Commons Digital, Culture, Media and Sport Committee Economics of music streaming Second Report of Session 2021–22 Report, together with formal minutes relating to the report Ordered by the House of Commons to be printed 9 July 2021 HC 50 incorporating HC 868 2019-21 Published on 15 July 2021 by authority of the House of Commons The Digital, Culture, Media and Sport Committee The Digital, Culture, Media and Sport Committee is appointed by the House of Commons to examine the expenditure, administration and policy of the Department for Digital, Culture, Media and Sport and its associated public bodies. Current membership Julian Knight MP (Conservative, Solihull) (Chair) Kevin Brennan MP (Labour, Cardiff West) Steve Brine MP (Conservative, Winchester) Alex Davies-Jones MP (Labour, Pontypridd) Clive Efford MP (Labour, Eltham) Julie Elliott MP (Labour, Sunderland Central) Rt Hon Damian Green MP (Conservative, Ashford) Rt Hon Damian Hinds MP (Conservative, East Hampshire) John Nicolson MP (Scottish National Party) Giles Watling MP (Conservative, Clacton) Mrs Heather Wheeler MP (Conservative, South Derbyshire) Powers The Committee is one of the departmental select committees, the powers of which are set out in House of Commons Standing Orders, principally in SO No 152. These are available on the internet via www.parliament.uk. Publication © Parliamentary Copyright House of Commons 2019. This publication may be reproduced under the terms of the Open Parliament Licence, which is published at www.parliament.uk/copyright. Committee reports are published on the Committee’s website at www.parliament.uk/dcmscom and in print by Order of the House. -
The Aesthetics and Ethics of London Based Rap
The Aesthetics and Ethics of London Based Rap: A Sociology of UK Hip-Hop and Grime Richard Bramwell Thesis submitted for the degree of Doctor of Philosophy, in the Department of Sociology, London School of Economics and Political Science 1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without the prior written consent of the author. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. 2 Abstract This thesis considers rap music produced in London. The project employs close textual analysis and ethnography to engage with the formal characteristics of rap and the social relations constructed through its production and use. The black cultural tradition has a considerable history and the thesis focuses upon its appropriation in contemporary London. The study begins with an examination of the process of becoming a rapper. I then consider the collaborative work that rap artists engage in and how these skills contribute to construction of the UK Hip-Hop and Grime scenes. Moving on from this focus on cultural producers, I then consider the practices of rap music’s users and the role of rap in mainstream metropolitan life. I use the public bus as a site through which to observe the ethical relations that are constituted through sharing and playing with rap music.