DOCSLIB.ORG

Flex Ltd. (FLEX) J.P

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Flex Ltd. (FLEX) J.P Corrected Transcript 09-Aug-2017 Flex Ltd. (FLEX) J.P. Morgan Auto Conference Total Pages: 14 1-877-FACTSET www.callstreet.com Copyright © 2001-2017 FactSet CallStreet, LLC Flex Ltd. (FLEX) Corrected Transcript J.P. Morgan Auto Conference 09-Aug-2017 CORPORATE PARTICIPANTS Chris Obey President- Automotive, Flex Ltd. Nicole Stevenson Vice President Business Strategy & Marketing, Flex Ltd. ................................................................................................................................................................................................................................ OTHER PARTICIPANTS Paul Coster Analyst, JPMorgan Securities LLC ................................................................................................................................................................................................................................ MANAGEMENT DISCUSSION SECTION Paul Coster Analyst, JPMorgan Securities LLC Okay. Good afternoon everyone. My name is Paul Coster. I cover Applied & Emerging Tech and also Alternative Energy at JPMorgan. And it's really interesting because we're seeing an awful lot of activity in the cusp zone, that's represented by the auto industry. A lot of tech companies that I cover, suddenly, really excited about the auto industry, and one of them is Flex, formerly known as Flextronics, in case some of you remember that name. And I'm very pleased to introduce two people to you today, Nicole Stevenson, who is Head of Strategy for the Auto segment of Flex, which by the way is a $21 billion revenue run rate company; and Chris Obey, who is the President of the Auto segment. Over to you Chris, welcome. ................................................................................................................................................................................................................................ Chris Obey President- Automotive, Flex Ltd. Okay. Well thank you, and thank you for attending. What I'd like to do is, the Auto segment is just a portion of Flex, so we're going to start off with a quick overview of Flex as a company, and how we use those assets to speed up our time to market for automotive. But first, we're going to play just a quick video to give you an idea of Flex. [Video Presentation] (1:36-3:50) So, I hope you enjoyed that. See if I can advance [ph] the screen (3:57). So the unique thing about Flex is that we operate at scale in 12 different industries. [ph] I guess that didn't work well (4:03). Let's talk about global scale and reach instead. So, Flex is a $24 billion company, 100 sites, 200,000 employees, a ton of design engineers, 50 2 1-877-FACTSET www.callstreet.com Copyright © 2001-2017 FactSet CallStreet, LLC Flex Ltd. (FLEX) Corrected Transcript J.P. Morgan Auto Conference 09-Aug-2017 million square feet of manufacturing space, and we launch about 12,000 products a year in all of our groups. So, big infrastructure at all of Flex. So, we operate across 12 different industries. You can see we've got a $2 billion medical business; a $3 billion automotive business; industrial; home appliance; capital equipment; energy; networking; enterprise compute; wearables; connected; mobile. So, when we put our automotive hats on, we think of automotive as, boy, the technology is really changing and you are on the road to autonomy, connected vehicles are really big, but the industries are changing, the technology is changing in all these different industries. And what's exciting for us in automotive is that we get to see what's happening in these different groups. So Flex is a Silicon Valley based company, and so more technology focused. And our Automotive team is comprised of automotive professionals. We're located in Detroit, Michigan. Our top team has about 470 years of automotive experience. And so what we've done is, instead of being a Detroit company going to Silicon Valley looking for technology, we're more of a Silicon Valley technology company coming to Detroit. So, we'll talk later on about how that affects our strategy and how we can use the technologies from these different industries to bring new technology to automotive at speed and at scale. So, basically this cross industry insights allow us to take new technologies that we see. We see just about everything that happens in Silicon Valley. And we have a team out there that goes through what's happening in the different industries and tries to identify opportunities to take into automotive, develop the components, identify the proper technologies, and then commercialize them into scalable production. This is just the Flex platform. We operate on three basic principles; speed, scope and scale. So real-time information, end-to-end solutions, and then this big physical infrastructure, that is all over the world. So, if you look at the industry for Flex, it's really changed and we've evolved the model. If you go back like to 1995, Flex did a lot of contract manufacturing. Actually it was just the server industry like outsourcing circuit boards. So, everybody was just making circuit boards [indiscernible] (6:45) on a build-to-print basis. If you go down to 2005, it became like a labor arbitrage, where all of the manufacturing then moved to China. So, cost became a big issue. And a lot of companies moved over to Asia to reduce the cost. And if we look at like what we did in 2015, we call ourselves Sketch-to-Scale, so this is like build – this is like design work. And in Automotive, our design group is about – we're about 65% design related and 35% like build-to-print. But the rest of Flex is now really focusing on what we can do to own the designs. And what this has done over the years is, we were asset-light and low cost, then we had Electronics Manufacturing Services, and then, finally, Sketch-to-Scale, and this is what I talked about earlier in terms of how it's evolved. So really, when you're doing like build-to-print work, you're really in a cost-based discussion with purchasing; with a short lead time and just taken a product, taken the print, and doing a manufacturing. And when we move the company to Sketch-to-Scale, you're really talking about revenue strategy and you're talking to the CEO, the CTO or the COO's with a longer lead time to plan and develop new products. And this is like the focus of our company. So, when we look at how we're accelerating from build-to-print and Sketch-to-Scale, if we go back to 2013, you can see that about 7% of our business was actually design related. It's currently about 23%, and our target is to have it to be 40%, with Automotive leading the way. So, we think that the future, we're going to see a lot of convergence of different industries into automotive. So, we can already see technologies coming from Silicon Valley and/or consumer products and going into cars. 3 1-877-FACTSET www.callstreet.com Copyright © 2001-2017 FactSet CallStreet, LLC Flex Ltd. (FLEX) Corrected Transcript J.P. Morgan Auto Conference 09-Aug-2017 So, when you talk about doing updates over-the-air or vehicle-to-infrastructure, vehicle-to-vehicle, we talk about augmented reality in cars, connecting the car to the home and connecting the car to people, as well as autonomous and connected cars. A lot of these different industries that we operate in, we see converging into the automotive space. And I think everybody in this room knows that. And we think we're uniquely positioned to connect the dots. We look at the car as the center of our universe. We operate with investments in vehicle-to-vehicle, into vehicle-to-infrastructure; we're involved in wearables, where we're taking functions from key fobs and putting them on to wearable devices. In our consumer group, we build about 80% of the world's sports wearables. Our smart homes, we have a whole connected living platform that we connect to the car, so we give our customers the opportunity to connect to their homes. We have a large digital health group, where there is more and more updates and more and more activity going on with your health, that's going to be going over the Internet. So, privacy is a big concern there. So we've got a lot of – we've got a $2 billion medical business. And then, mobility and cloud is really an area that's new to us. So, in Automotive, we'll talk a little bit about some of the projects we have in autonomy and in cloud services. So with that, I'll turn it over to Nicole to go through some of our automotive offerings. ................................................................................................................................................................................................................................ Nicole Stevenson Vice President Business Strategy & Marketing, Flex Ltd. Thank you, Chris. So just a little quick overview of the Automotive segment. Today, I think Chris kind of mentioned it before we're just about a $3 billion business, up from about $800 million about five years ago. We have over 14,000 employees, again huge growth, and over 30 sites in over 15 countries. We're headquartered in the Detroit region, and we have a lot of design centers around the region as well. So, just to give you a view of where some of these are, again, we have over – about 20 auto approved production sites globally, and nine auto focus design centers, so wherever the customer needs us to be, is where we are. And on top of that, we have this massive innovation system that we're able to leverage in our Flex Automotive Group. There's five innovations centers and some key hubs such as San Jose, obviously is our largest. We've got one in Israel. We have one in San Francisco, Boston, and also in Shanghai. And then, we also have 25 full design centers working across all those 12 industries that Chris mentioned earlier.
Load more

Recommended publications
  • This Interview Is Being Conducted on Barry Chism. Let's Start with The
    This interview is being conducted on Barry Chism. Let's start with the beginning of your life. When were you born? Mr. Chism: I was born on May 21, 1925, about a mile and a half south of here in Greenbrier, Tennessee and I haven't been afar from this spot forever. With the exception of going to war... Mr. Chism: Well that was not voluntary, but I did go. I was kind of hoping and kind of hoping and kind of thinking that the war was going to end before I got into it because of my age. I was drafted a twenty-five year old man and pretty soon they dropped it down to a twenty-one year man and I thought that I was still in pretty good shape. I wasn't twenty-one yet but I was still in high school. I believe it was in 1942 that they dropped the draft age down to eighteen. But they guaranteed you; supposedly, a year’s training before you go overseas. That was in the bill that passed by our lawmakers at that time. No person under the age of nineteen would be sent overseas. I still thought I was in pretty good shape. So I did manage to graduate from high school, then the draft got me. I wound up beginning to take basic training at Fort McClellan, Alabama. But first they pick you up and send you to what is called a reception center. I don’t know why they call those things reception centers. We didn't get such a good reception there.
    [Show full text]
  • Regional Oral History Office University of California the Bancroft Library Berkeley, California
    Regional Oral History Office University of California The Bancroft Library Berkeley, California Faith Traversie Rosie the Riveter World War II American Homefront Oral History Project A Collaborative Project of the Regional Oral History Office, The National Park Service, and the City of Richmond, California Interviews conducted by Elizabeth Castle in 2005 Copyright © 2007 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through tape-recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The tape recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Faith Traversie. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley.
    [Show full text]
  • Smith, Troy African & African American Studies Department
    Fordham University Masthead Logo DigitalResearch@Fordham Oral Histories Bronx African American History Project 2-3-2006 Smith, Troy African & African American Studies Department. Troy Smith Fordham University Follow this and additional works at: https://fordham.bepress.com/baahp_oralhist Part of the African American Studies Commons Recommended Citation Smith, Troy. Interview with the Bronx African American History Project. BAAHP Digital Archive at Fordham University. This Interview is brought to you for free and open access by the Bronx African American History Project at DigitalResearch@Fordham. It has been accepted for inclusion in Oral Histories by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. Interviewer: Mark Naison, Andrew Tiedt Interviewee: Troy Smith February 3, 2006 - 1 - Transcriber: Laura Kelly Mark Naison (MN): Hello, this is the 143rd interview of the Bronx African American History Project. It’s February 3, 2006. We’re at Fordham University with Troy Smith who is one of the major collectors of early hip hop materials in the United States and the lead interviewer is Andrew Tiedt, graduate assistant for the Bronx African American History Project. Andrew Tiedt (AT): Okay Troy, first I wanna say thanks for coming in, we appreciate it. Your archive of tapes is probably one of the most impressive I’ve ever seen and especially for this era. Well before we get into that though, I was wondering if you could just tell us a little bit about where you’re from. Where did you grow up? Troy Smith (TS): I grew up in Harlem on 123rd and Amsterdam, the Grant projects, 1966, I’m 39 years old now.
    [Show full text]
  • Dj Issue Can’T Explain Just What Attracts Me to This Dirty Game
    MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS E-40, TURF TALK OZONE MAGAZINE MAGAZINE OZONE FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE CAN’T EXPLAIN JUST WHAT ATTRACTS ME TO THIS DIRTY GAME ME TO ATTRACTS JUST WHAT MIMS PIMP C BIG BOI LIL FLIP THREE 6 MAFIA RICK ROSS & CAROL CITY CARTEL SLICK PULLA SLIM THUG’s YOUNG JEEZY BOSS HOGG OUTLAWZ & BLOODRAW: B.G.’s CHOPPER CITY BOYZ & MORE APRIL 2007 USDAUSDAUSDA * SCANDALOUS SIDEKICK HACKING * RAPQUEST: THE ULTIMATE* GANGSTA RAP GRILLZ ROADTRIP &WISHLIST MORE GUIDE MAC MALL,WEST CLYDEOZONE COAST:CARSONPLUS REAL, RAW, & UNCENSORED SOUTHERN RAP E-40, TURF TALK FIGHT THE POWER: THE FEDS vs. DJ DRAMA THE SECOND ANNUAL DJ ISSUE MIMS PIMP C LIL FLIP THREE 6 MAFIA & THE SLIM THUG’s BOSS HOGG OUTLAWZ BIG BOI & PURPLE RIBBON RICK ROSS B.G.’s CHOPPER CITY BOYZ YOUNG JEEZY’s USDA CAROL CITY & MORE CARTEL* RAPQUEST: THE* SCANDALOUS ULTIMATE RAP SIDEKICK ROADTRIP& HACKING MORE GUIDE * GANGSTA GRILLZ WISHLIST OZONE MAG // 11 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly CHIEF OPERATIONS OFFICER // N. Ali Early MUSIC EDITOR // Randy Roper FEATURES EDITOR // Eric Perrin ART DIRECTOR // Tene Gooden ADVERTISING SALES // Che’ Johnson PROMOTIONS DIRECTOR // Malik Abdul MARKETING DIRECTOR // David Muhammad LEGAL CONSULTANT // Kyle P. King, P.A. SUBSCRIPTIONS MANAGER // Destine Cajuste ADMINISTRATIVE // Cordice Gardner, Kisha Smith CONTRIBUTORS // Alexander Cannon, Bogan, Carlton Wade, Charlamagne the God, Chuck T, E-Feezy, Edward Hall, Felita Knight, Iisha Hillmon, Jacinta Howard, Jaro Vacek, Jessica INTERVIEWS Koslow, J Lash, Jason Cordes, Jo Jo, Joey Columbo, Johnny Louis, Kamikaze, Keadron Smith, Keith Kennedy, Kenneth Brewer, K.G.
    [Show full text]
  • Key West Oral History Interview with Roosevelt Sands Sr
    Title: Key West Oral History Interview with Roosevelt Sands Sr. INTERVIEWEE: Roosevelt Sands Sr. INTERVIEWER: Virginia Irving, Unknown2, and Unknown3 TRANSCRIBER: Andrea Benitez TRANSCIBED: November 13, 2007 INTERVIEW LENGTH: 00:60:25 Irving: -- (?)? Sands: Yeah, Roosevelt Sands Sr. I: Okay. Mr. Sands is a Bahamian descendant, right? S: Yeah, that’s right. I was born here, but my parents were born in the Bahamas. I: Do you remember where they were born? S: Yeah. My father was born in Harbour Island and my mother was born in Bluff, Eleuthera. I: That’s the same place where Mrs. Jones was from-- S: Oh, yeah, yeah, she’s a cousin of mine. I: Bluff, Eleuthera. S: Right. I: We were looking at the map this morning and there’s an island called ‘Eleuthera’-- S: Uh-huh. I: --and we were trying to figure out about Bluff and we were thinking that maybe Bluff was a point on the island where the people lived so they called it ‘Bluff’, Eleuthera. S: That’s correct. I: That’s what we figured out, we don’t know-- S: Yeah, that’s-- I think you’re both right about that. I: What about your grandparents, their names? Do you remember their names? S: My grandparents? Let me see. My mother’s mother was named Mary Davis- my mother was a Davis before she became a Sands. My father-- my grandfather- you know, his father- he was a Sands. He died at a pretty early age; he was a seaman. I don’t recall whether my father knew him or not.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title The Dead and Their Killers Permalink https://escholarship.org/uc/item/1094031m Author Morshed, Michael Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE The Dead and Their Killers A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Fine Arts in Creative Writing and Writing for the Performing Arts by Michael Morshed December 2013 Thesis Committee: Professor Tod Goldberg, Co-Chairperson Professor Andrew Winer, Co-Chairperson Professor Rob Roberge The Thesis of Michael Morshed is approved: Committee Co-Chairperson Committee Co-Chairperson University of California, Riverside Chapter Dr. Bill McFarland was dead on his kitchen table by afternoon, but that morning Helen Abraham sat in there with him. She had gone to him to get help with the red insect bites all over her hands. When the kettle whistled, he stood to turn the fire off. Helen thought he had looked closer at the stains on his white coffee mug than he had the spots on her hands. He filled two cups, one for him, and he set the other down in front of Helen. It hurt too much for her to pick the mug up. Dr. Bill McFarland took a sip and cringed. "Hot?" Helen smiled. "It's right off the stove." He set the mug down. "Let me see the hands again." She snapped them shut and they felt clammy. The spots embarrassed her. She extended her hands over the table, spread her fingers, and he turned her hand around.
    [Show full text]
  • James Pitts – 1
    File 1-1 0:00:00.0 Then he asked me later on, two, three, four years after that, he mentioned it again. I asked him, I said, “Are you sure that’s what you want?” He said, “Yeah.” I said, “Well, I ain’t makin’ a promise that I might not be able to keep, but I’ll put some stipulations in it, a possibility.” I said— 0:00:20.8 End file 1-1. File 1-2 0:00:00.0 —and I finished ninth grade at Stringtown [?]. Well, I said I finished it. I went. At the end of the school year I got an award for being an occasional ___ student. So the next year I quit. I had to put in the crops, and I stayed there about two years, and I went to my granddad’s. ‘Cause we walked miles one way to catch the—little over three miles, ‘bout three and a quarter miles to catch the bus and had to be there about 10 minutes to 7 in the mornin’ and then ride it several miles into school. And had three different creeks to cross, and they didn’t have bridges over ‘em, and sometimes that was ___, and sometimes I just didn’t want to go. So anyway, then I went back and I started in the tenth, and I never did go pick up my grades or report cards, so I don’t even know if I passed the ninth or not. But anyway— (What year was that?) 0:01:03.8 That’s—I have a great memory.
    [Show full text]
  • Songs by Title
    16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A.
    [Show full text]
  • Snow Tha Product
    TranscUlturAl, vol. 9.1 (2017), 132-144. http://ejournals.library.ualberta.ca/index.php/TC Translating Chicana Rap: Snow Tha Product Adriana Onita University of Alberta, Edmonton Figure 1: Collage created by author. Since the birth of rap in the South Bronx in the 1970s, female rappers have had to make difficult choices in their style, lyrics, and performances as they strive for equality in the male-dominated hip-hop industry. From Lil Kim to Nicki Minaj, many female rappers have shamelessly and provocatively used their sexuality to sell records, sometimes earning them the title of “sexual entrepreneurs.” Therefore, to encounter a rapper like Snow Tha Product, who openly resists this trend, is rare and merits discussion. This project examines rap lyrics, interviews, and music videos by Chicana artist Snow Tha Product to show how rap has been culturally translated, performed, and appropriated by females in order to “flip the script,” or subvert the dichotomous model of female sexuality that has been imposed upon them. Weaving insights from three academic fields (cultural translation, This work is licensed under a Creative Commons Attribution 3.0 License 132 TranscUlturAl, vol. 9.1 (2017), 132-144. http://ejournals.library.ualberta.ca/index.php/TC Chican@1 studies, and hip-hop feminism), this paper also aims to creatively expand the definition of translation by positioning rap music as a performative language in its own right, capable of encoding and translating complex cultural issues related to race, gender, and sexuality. Theory & Context: Cultural Translation, Hip-hop feminism, Chican@ studies Cultural translation can be understood as a “process in which there is no start text and usually no fixed target text.
    [Show full text]
  • Exemplar Texts for Grades
    COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects _____ Appendix B: Text Exemplars and Sample Performance Tasks OREGON COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Exemplars of Reading Text Complexity, Quality, and Range & Sample Performance Tasks Related to Core Standards Selecting Text Exemplars The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that students should encounter in the text types required by the Standards. The choices should serve as useful guideposts in helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do not represent a partial or complete reading list. The process of text selection was guided by the following criteria: Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on qualitative and quantitative indices of inherent text difficulty balanced with educators’ professional judgment in matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group began by soliciting contributions from teachers, educational leaders, and researchers who have experience working with students in the grades for which the texts have been selected. These contributors were asked to recommend texts that they or their colleagues have used successfully with students in a given grade band. The work group made final selections based in part on whether qualitative and quantitative measures indicated that the recommended texts were of sufficient complexity for the grade band.
    [Show full text]
  • Liz Norell - You Are Listening to Tiger Stories, a Podcast from Chattanooga State Community College
    [Music] Liz Norell - You are listening to Tiger Stories, a podcast from Chattanooga State Community College. This is the place to share the stories from our community, with our broader community. At Chatt State, we believe every member of our campus, students, faculty and staff belongs here and because we know that belonging matters, we are excited to share the stories of those who make up the unique, diverse and supportive community on our campus. You will often hear people on this podcast talk about Chatt State as having a feel of a family. We are so proud to be part of an institution that welcomes people from across the community to come here and pursue their dreams. We hope you will enjoy hearing our stories and maybe even some day, you will want to share yours with us too. I am Liz Norell and I teach Political Science on the Main Campus of Chattanooga State. I feel so lucky that I get to be on this campus, working with our students and my colleagues on the faculty and staff. We get to witness powerful transformations happening on our campus all the time. And so I am excited to get to share this conversation with you. Without further ado, let's get started with today's conversation. Why don't you start just by introducing yourself? Why don't you begin by introducing yourself? Megan Mathews - Hi, my name is Megan Mathews. I am a Political Science Major and this is my first full-time semester at Chatt State, woo hoo! Liz Norell – YAY! And you started at Kimball.
    [Show full text]
  • Rap Vocality and the Construction of Identity
    RAP VOCALITY AND THE CONSTRUCTION OF IDENTITY by Alyssa S. Woods A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Theory) in The University of Michigan 2009 Doctoral Committee: Associate Professor Nadine M. Hubbs, Chair Professor Marion A. Guck Professor Andrew W. Mead Assistant Professor Lori Brooks Assistant Professor Charles H. Garrett © Alyssa S. Woods __________________________________________ 2009 Acknowledgements This project would not have been possible without the support and encouragement of many people. I would like to thank my advisor, Nadine Hubbs, for guiding me through this process. Her support and mentorship has been invaluable. I would also like to thank my committee members; Charles Garrett, Lori Brooks, and particularly Marion Guck and Andrew Mead for supporting me throughout my entire doctoral degree. I would like to thank my colleagues at the University of Michigan for their friendship and encouragement, particularly Rene Daley, Daniel Stevens, Phil Duker, and Steve Reale. I would like to thank Lori Burns, Murray Dineen, Roxanne Prevost, and John Armstrong for their continued support throughout the years. I owe my sincerest gratitude to my friends who assisted with editorial comments: Karen Huang and Rajiv Bhola. I would also like to thank Lisa Miller for her assistance with musical examples. Thank you to my friends and family in Ottawa who have been a stronghold for me, both during my time in Michigan, as well as upon my return to Ottawa. And finally, I would like to thank my husband Rob for his patience, advice, and encouragement. I would not have completed this without you.
    [Show full text]