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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
The Musical Number and the Sitcom
ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139). -
Donald Trump Shoots the Match1 Sharon Mazer
Donald Trump Shoots the Match1 Sharon Mazer The day I realized it can be smart to be shallow was, for me, a deep experience. —Donald J. Trump (2004; in Remnick 2017:19) I don’t care if it’s real or not. Kill him! Kill him! 2 He’s currently President of the USA, but a scant 10 years ago, Donald Trump stepped into the squared circle, facing off against WWE owner and quintessential heel Mr. McMahon3 in the “Battle of the Billionaires” (WrestleMania XXIII). The stakes were high. The loser would have his head shaved by the winner. (Spoiler alert: Trump won.) Both Trump and McMahon kept their suits on—oversized, with exceptionally long ties—in a way that made their heads appear to hover, disproportionately small, over their bulky (Trump) and bulked up (McMahon) bodies. As avatars of capitalist, patriarchal power, they left the heavy lifting to the gleamingly exposed, hypermasculinist bodies of their pro-wrestler surrogates. McMahon performed an expert heel turn: a craven villain, egging the audience to taunt him as a clueless, elitist frontman as he did the job of casting Trump as an (unlikely) babyface, the crowd’s champion. For his part, Trump seemed more mark than smart. Where McMahon and the other wrestlers were working around him, like ham actors in an outsized play, Trump was shooting the match: that is, not so much acting naturally as neglecting to act at all. He soaked up the cheers, stalked the ring, took a fall, threw a sucker punch, and claimed victory as if he (and he alone) had fought the good fight (WWE 2013b). -
PART 1 | CHAPTER 4 | LESSON #4 Windows of Learning
PART 1 | CHAPTER 4 | LESSON #4 FREE Windows of Learning PREVIEW ® “Everyone is born a genius, but the process of life de-geniuses them.” – R. Buckminster Fuller Dedication To parents... a child’s first and most important teachers “When I was five years old my mother always told me that happiness was the key to life. “When I went to school, they asked me what I wanted to be when I grew up. I wrote down ‘happy.’ “They told me I didn’t understand the assignment, and I told them they didn’t understand life.” – John Lennon boost your monthly income by investing in real estate with the help of a rich dad coach EXCLUSIVE OFFER*: act now and get 6 months FREE coaching with any new program and our service warranty: if you complete the participant requirements and have not completed at least one real estate transaction— then, upon your request—we will extend your program time. we will continue to work with you at no additional charge until you complete your personal investment action plan. call today at 1-800-240-0434, and ask for ext. 7256 to take advantage of this exclusive offer or visit www.richdadcoaching.com/re6 to get started. *based on availability. Contents Introduction Awaken Your Child’s Financial Genius ...................................... 1 Part One Are Schools Preparing Your Child for the Real World? ....................... 11 Introduction to Part One ................................................................................. 13 Chapter One Lesson #1: An Educational Crisis ......................................................................... 15 Chapter Two Lesson #2: The Fairytale Is Over ........................................................................... 31 Chapter Three Lesson #3: Prepare Your Child for the Worst ....................................................... -
By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible. -
Cover Boys Books Entertainment Smh.Com.Au
Cover boys Books Entertainment smh.com.au http://www.smh.com.au/news/books/coverboys/2005/12/29/113573267... Cover boys Stephen King and Martin Amis. Photo: John Shakespeare December 29, 2005 Never write sex scenes. A weird story is best kept a short story. Martin Amis and Stephen King slug it out onstage. Madeleine Murray takes notes. No writers could be more different than Martin Amis and Stephen King. Amis, enfant terrible of the British literati, inherited his famous father's flair for lacerating, bilious prose. King never knew his father, who left his Maine home to get cigarettes one evening in 1949 and disappeared forever. His mother supported her two young sons by working in a home for the mentally ill. Amis's first novel concerned an Oxfordbound adolescent determined to sleep with an older woman. King's first published story, I was a Teenage Grave Robber, about a scientist who bred giant maggots, appeared in Comics Review in 1967. Amis has been shortlisted for the Booker prize, but only a couple of his novels have ever been filmed, quite forgettably. Intellectuals poohpooh King, yet more than 90 of his stories have been adapted for TV and films. Yet on this Saturday morning at The New Yorker festival, the prince and the showman were meeting three other writers to discuss fantasy and invention in fiction. King, rangy and relaxed, seemed to have recovered from his gruesome accident on a deserted Maine road six years ago. While trying to stop one of his Rottweilers rummaging in a beer cooler, Bryan 1 of 5 11/25/2006 11:26 AM Cover boys Books Entertainment smh.com.au http://www.smh.com.au/news/books/coverboys/2005/12/29/113573267.. -
Digs in Down
Record Mirror. Febuir 11. 1978 3 LONG TELEPHONE DISTANCE % Day2tlme; o1 -e36 i Evian. ng 01-836, DIGS IN %, 429 DOWN JEFF LYNNE, con- is ductor of the London the near future on an as yet what Juicy thought when Philharmonic unnamed record company, she heard some staggering EDITOR Dreher. - Dan Me(balbrty of Nszaretti, news In the bar (where Ira.. has decided to ALF MARTIN In an Inspired moment else?) before the Robert break his silence. during rehearsals for their Gorden concert, Let me be Yes, he's US tour, tell off the stage. the first to pass on the secret decided to sn' a Landing with a reanr.nable "Smtglrwes' Ron, self - ASSISTANT EDITOR give interviews to the a press f lack of grace, he managed to styled leader of the Teds and 11,0sal:nd Russell i after all these damage the achilles tendons media personality has gone / years, The ,fact and got himself engaged' that in both feet and was to be / Ron he now happens seen hobbling around on has been best man at i to be countless FEATURES EDITOR in Australia has Crutches. Teddy Boy wed- not Percy, drummer with The dings, but we were Sheila Prophet influenced this deci- Secret, like many In his beginning to think he'd sion In any keep never catch Use bouquet way . profession, can't his Young Brune Springsteen hands still when he's not himself. Now we under- NEWS EDITOR took stand the evergreen rock time out from recording In playing on his drum kit. A 'n' Jim Evans New York recently to play few days ago, hr was sitting with old buddy Southaide in the lobby of a hotel. -
Liminal Losers: Breakdowns and Breakthroughs in Reality Television's Biggest Hit
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 4-2013 Liminal Losers: Breakdowns and Breakthroughs in Reality Television's Biggest Hit Caitlin Rickert Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Broadcast and Video Studies Commons, and the Health Communication Commons Recommended Citation Rickert, Caitlin, "Liminal Losers: Breakdowns and Breakthroughs in Reality Television's Biggest Hit" (2013). Master's Theses. 136. https://scholarworks.wmich.edu/masters_theses/136 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. LIMINAL LOSERS: BREAKDOWNS AND BREAKTHROUGHS IN REALITY TELEVISION’S BIGGEST HIT by Caitlin Rickert A Thesis submitted to the Graduate College in partial fulfillment of the requirements for the degree of Master of Arts School of Communication Western Michigan University April 2013 Thesis Committee: Heather Addison, Ph. D., Chair Sandra Borden, Ph. D. Joseph Kayany, Ph. D. LIMINAL LOSERS: BREAKDOWNS AND BREAKTHROUGHS IN REALITY TELEVISION’S BIGGEST HIT Caitlin Rickert, M.A. Western Michigan University, 2013 This study explores how The Biggest Loser, a popular television reality program that features a weight-loss competition, reflects and magnifies established stereotypes about obese individuals. The show, which encourages contestants to lose weight at a rapid pace, constructs a broken/fixed dichotomy that oversimplifies the complex issues of obesity and health. My research is a semiotic analysis of the eleventh season of the program (2011), focusing on three pairs of contestants (or “couples” teams) that each represent a different level of commitment to the program’s values. -
The Case of Donald J. Trump†
THE AGE OF THE WINNING EXECUTIVE: THE CASE OF DONALD J. TRUMP† Saikrishna Bangalore Prakash∗ INTRODUCTION The election of Donald J. Trump, although foretold by Matt Groening’s The Simpsons,1 was a surprise to many.2 But the shock, disbelief, and horror were especially acute for the intelligentsia. They were told, guaranteed really, that there was no way for Trump to win. Yet he prevailed, pulling off what poker aficionados might call a back- door draw in the Electoral College. Since his victory, the reverberations, commotions, and uproars have never ended. Some of these were Trump’s own doing and some were hyped-up controversies. We have endured so many bombshells and pur- ported bombshells that most of us are numb. As one crisis or scandal sputters to a pathetic end, the next has already commenced. There has been too much fear, rage, fire, and fury, rendering it impossible for many to make sense of it all. Some Americans sensibly tuned out, missing the breathless nightly reports of how the latest scandal would doom Trump or why his tormentors would soon get their comeuppance. Nonetheless, our reality TV President is ratings gold for our political talk shows. In his Foreword, Professor Michael Klarman, one of America’s fore- most legal historians, speaks of a degrading democracy.3 Many difficulties plague our nation: racial and class divisions, a spiraling debt, runaway entitlements, forever wars, and, of course, the coronavirus. Like many others, I do not regard our democracy as especially debased.4 Or put an- other way, we have long had less than a thoroughgoing democracy, in part ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– † Responding to Michael J. -
Unfair Advantage #3 DEBT
What Schools Will Never Teach You About Money By Robert T. Kiyosaki ™ If you purchase this book without a cover, or purchase a PDF, jpg, or tiff copy of this book, it is likely stolen property or a counterfeit. In that case, neither the authors, the publisher, nor any of their employees or agents has received any payment for the copy. Furthermore, counterfeiting is a known avenue of financial support for organized crime and terrorist groups. We urge you to please not purchase any such copy and to report any instance of someone selling such copies to Plata Publishing LLC. This book is dedicated to those who step up This publication is designed to provide competent and reliable information regarding the and become part of the solution. subject matter covered. However, it is sold with the understanding that the author and publisher are not engaged in rendering legal, financial, or other professional advice. Laws and practices often vary from state to state and country to country and if legal or other expert assistance is required, the services of a professional should be sought. The author and publisher specifically disclaim any liability that is incurred from the use or application of the contents of this book. Copyright © 2012 by Robert T. Kiyosaki. All rights reserved. Except as permitted under the U.S. Copyright Act of 1976, no part of this publication may be reproduced, distributed, or transmitted in any form or by any means or stored in a database or retrieval system, without the prior written permission of the publisher. Published by Plata Publishing, LLC CASHFLOW, Rich Dad, Rich Dad Advisors, ESBI, and B-I Triangle are registered trademarks of CASHFLOW Technologies, Inc. -
Political Discourse in Martin Amis's Other People: a Mystery Story
Martin, Karl, and Maggie Too: Political Discourse in Martin Amis’s Other People: A Mystery Story Stephen Jones common thread that runs throughout criticism of Martin Amis’s Awork is a concentration on the formal aspects of his writing. In his earlier work, this concentration often comes at the expense of his novels’ political content. Martin Cropper has written that: Martin Amis has published two novels worth re-reading, his third and fourth: Success (1978) and Other People: A Mystery Story (1981). Each is structurally exquisite—a double helix; a Möbius strip (Cropper, p.6) While I would argue that all of Amis’s work is worth reading regardless, and possibly because, of any ‘aesthetic shortcomings’ that Cropper may identify, his description of Amis’s precise structuring is enlightening. The analogy to the mathematical structures of a double helix and a Möbius strip suggests the precision and rigidity with which Amis has ‘calculated’ his narrative structures, and it is the Möbius strip structure of Other People: A Mystery Story (1981) in particular that appears to have distracted many critics from any political content that the novel may contain. Brian Finney pays close attention to the novel’s metafictional elements, concluding that its cyclical structure entraps ‘the narrator and the reader ... in the web of the fictional construct’ (Finney, p.53). Finney’s suggestion is that the main purpose of the novel’s metafictional devices is to draw attention to the problems of narrative closure. While Finney is correct in noting this, it is also possible to read these devices as drawing attention to social as well as narrative issues. -
Metal Men Metal Men Marc Rich and the $10 Billion Scam A
Metal Men Metal Men Marc Rich and the $10 Billion Scam A. Craig Copetas No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopy, recording, scanning or any information storage retrieval system, without explicit permission in writing from the Author. © Copyright 1985 by A. Craig Copetas First e-reads publication 1999 www.e-reads.com ISBN 0-7592-3859-6 for B.D. Don Erickson & Margaret Sagan Acknowledgments [ e - reads] Acknowledgments o those individual traders around the world who allowed me to con- duct deals under their supervision so that I could better grasp the trader’s life, I thank you for trusting me to handle your business Tactivities with discretion. Many of those traders who helped me most have no desire to be thanked. They were usually the most helpful. So thank you anyway. You know who you are. Among those both inside and outside the international commodity trad- ing profession who did help, my sincere gratitude goes to Robert Karl Manoff, Lee Mason, James Horwitz, Grainne James, Constance Sayre, Gerry Joe Goldstein, Christine Goldstein, David Noonan, Susan Faiola, Gary Redmore, Ellen Hume, Terry O’Neil, Calliope, Alan Flacks, Hank Fisher, Ernie Torriero, Gordon “Mr. Rhodium” Davidson, Steve Bronis, Jan Bronis, Steve Shipman, Henry Rothschild, David Tendler, John Leese, Dan Baum, Bert Rubin, Ernie Byle, Steven English and the Cobalt Cartel, Michael Buchter, Peter Marshall, Herve Kelecom, Misha, Mark Heutlinger, Bonnie Cutler, John and Galina Mariani, Bennie (Bollag) and his Jets, Fredy Haemmerli, Wil Oosterhout, Christopher Dark, Eddie de Werk, Hubert Hutton, Fred Schwartz, Ira Sloan, Frank Wolstencroft, Congressman James Santini, John Culkin, Urs Aeby, Lynn Grebstad, Intertech Resources, the Kaypro Corporation, Harper’s magazine, Cambridge Metals, Redco v Acknowledgments [ e - reads] Resources, the Swire Group, ITR International, Philipp Brothers, the Heavy Metal Kids, and .