Drunken Nights Out: Motivations, Norms and Rituals in the Night-Time Economy Drunken Nights Out: Motivations, Norms and Rituals in the Night-Time Economy

Total Page:16

File Type:pdf, Size:1020Kb

Drunken Nights Out: Motivations, Norms and Rituals in the Night-Time Economy Drunken Nights Out: Motivations, Norms and Rituals in the Night-Time Economy Drunken Nights Out: Motivations, norms and rituals in the night-time economy Drunken Nights Out: Motivations, norms and rituals in the night-time economy Simon Christmas and Fiona Seymour September 2014 1 Drunken Nights Out: Motivations, norms and rituals in the night-time economy Acknowledgements We are very grateful to the many people without Consultant, Public Health England; Clive Henn, whose expertise and support this review would Policy Lead, Public Health England; Simon Jackson, not have been possible. While any errors in the National Director, Best Bar None; Adrian Lee, Chief following pages are entirely our own responsibility, Constable, Northamptonshire Police; Tom Lemon, most of the best ideas can be traced to the input of Paramedic, Waterloo Ambulance Station; Sue others. Nelson, Executive Officer, Institute of Licensing; Jean Nichol, Alcohol Policy Lead, Department of Particular thanks are due to Anne Foster at Health; James Nicholls, Research Manager, Alcohol Drinkaware, who has provided unstinting support Research UK; Samantha Redmond, Head of Insight, and (when requested) wise guidance, while always Home Office; Lynn Robinson, Deputy Registrar, respecting our independence; and to Marcel University of Bristol; Rod Thomson, Director of Wallace, whose contributions to the completion of Public Health, Shropshire; Paul Wallace, Chief this review were many and significant. Medical Officer, Drinkaware CMA; Emma Webb, Drug and Alcohol Lead, University of Bristol; and For their roles in our qualitative research team, Kate Winstanley, Programme Manager, Community we are indebted to Annabelle Butler, Cait Miskelly Alcohol Partnerships. and Andrew Phillips (Big Island); and to Paul Heath and John Holland (Further Afield). Cait deserves a We are also grateful to participants in a workshop special mention for her creativity and patience in convened to review preliminary findings from the delivering a complex pre-work task. first phase of our research: Daisy Blench, BBPA; Dave Spencer, Chief Inspector, Northamptonshire Police; Jo We are also grateful to the team at Drinkaware Wilson, Deputy Director of Students Support (Health for their support and flexibility throughout the and Wellbeing), Essex University; Kaiah Burridge, review process: Sarah Salisbury, Anastasia Terzeon, Home Office; Louisa Todd, Home Office; Matthew Matthew Britton, Lizzie Worth, Kate Owen and Mitchell, Home Office; Paul Blakey, Street Angels; Elaine Hindal. Peter Harrison, Research Director, Brain Juicer; Rod Thomson, Director of Public Health, Shropshire; and The review has benefited beyond measure from the teams at TBWA, Neo, and Cohn & Wolfe. the contributions of a number of key informants who gave up their time to participate in interviews: We would like to thank all those who responded to Simon Antrobus, Chief Executive, Addaction; Drinkaware’s call for evidence in connection with Ashley Baruah, A&E Nurse, Royal Free Hospital; this review, too many to list here. Paul Blakey, Chief Executive Officer, Street Angels; Jo Bray, Head of Strategic Communications, Home Finally, we would like to thank the participants in Office; Ellie Gordon, Clinical Lead on Alcohol, Royal our qualitative research, without whose openness College of Nursing; Alison Hardy, Communications and insight we would never have arrived at an understanding of drunken nights out. 2 Drunken Nights Out: Motivations, norms and rituals in the night-time economy Executive summary This strategic review, undertaken for Drinkaware, gender and, in particular, youth. addressed the question: ‘what role could and should Drinkaware play in reducing the harms Participation in drunken nights out, and therefore associated with drunken nights out?’ The review associated harm, is at a peak among young adults. draws on original qualitative research comprising However, it is essential to stress that: pre-work, interviews and workshops with a total of ◊ Much alcohol-related harm occurs outside the 80 participants in drunken nights out aged 18 to context of drunken nights out, or any other 29, a review of literature, and interviews with key kind of drinking by young people. informants. ◊ Many young people do not participate in drunken nights out or indeed drink at all. The remit of the review was to make evidence- based recommendations regarding the role that Drinking and getting drunk are gendered activities, education and communications could and should but there are striking similarities in the behaviour play in reducing the harms associated with drunken of women and men in the young adult age nights out. It does not make recommendations for range, especially with regard to intentions and wider policy, for agents other than Drinkaware, or consumption. One key difference is that women regarding interventions other than those which are more likely than men to report many negative Drinkaware might make. consequences. There is no evidence to suggest that students are more likely to participate in drunken Introducing drunken nights out nights out than non-student peers of the same age. The term ‘drunken night out’ refers to a package of behaviours which take place in a specific Often represented as the excessive behaviour of context (temporal, spatial and social). Drinking a ‘small minority’, drunken nights out are in fact and drunkenness are central to this package of entirely normal – at least from the perspective of behaviours, but they are not the only behaviours those who participate in them. Field studies reveal involved. widespread excessive drinking among users of the night-time economy (although much consumption The widely used term ‘binge drinking’ is may take place at home before going out). Roughly problematic: definitions are inconsistent; there two fifths of 18 to 24 year olds agree with the is a credibility gulf between recommended statement ‘I really enjoy going out to get drunk’,1 and actual consumption; a focus on quantities and 15% of this age group state that they drink with consumed neglects the social nature of drinking the intention of getting drunk every time or most and drunkenness; and the term is associated with times they drink alcohol.2 A regular intention to get unhelpful stereotypes shaped by attitudes to class, drunk is associated with drinking more frequently, 1 GB TGI 2013 Q2 (Jan 2012–Dec 2012), Kantar Media UK Ltd. 2 Ipsos MORI (2013). 3 Drunken Nights Out: Motivations, norms and rituals in the night-time economy drinking more, getting drunk more often, and Benefit 1: Escape running an increased risk of experiencing/causing The norms and rituals which structure the harm. There is also evidence that the intention drunken night out mark a special social context to get drunk is associated with a different way of distinct from the rest of life. Individuals describe drinking, and with choices of venue in the night- entering this special context in terms of taking on time economy. a different identity – a drunken night out identity – characterised by doing things one would not Behaviour during drunken nights out is also highly normally do. structured – in contrast to common representations as chaotic, reckless and out of control. The In particular, the drunken night out provides an structuring role of social norms and rituals is arena within which more intense and extreme particularly important. Moreover, a drunken night social interactions are permitted, both within one’s out is undertaken, not by individuals, but by group of friends and more widely. One of the core groups of friends. These groups play a central role benefits of the drunken night out is escape, from in managing some of the risks associated with a the norms of interaction in everyday life, to this drunken night out. more permissive social arena. Why do people go on drunken nights Benefit 2: Bonding and belonging out? The drunken night out provides an opportunity for Participation in drunken nights out can be a group of friends to strengthen their bonds and explained in terms of social norms or other kinds collective identity, while also confirming individuals’ of social pressure; as a response to prompts identities within the group. In this context, group in the situation; or as a habit. Alongside these members can engage in interactions which might explanations, however, the decision to go on a not normally be possible, for example, banter. drunken night out can also be seen as a rational They can also synchronise behaviour, for example, choice, made on an assessment of benefits and through dancing. costs. Drunken nights out deliver a number of clear benefits to their participants (see below); and Groups tend to be stable over time. In some there are few if any other social experiences which instances, the drunken night out is the sole provide the same mix of benefits. Many participants mechanism by which the group is maintained. in drunken nights out find it hard to think of other Drunken nights out may also be used as a way of things they could do. building a group where one did not previously exist – in particular among students. Groups are often single-gendered. Partners often continue to socialise with separate groups. 4 Drunken Nights Out: Motivations, norms and rituals in the night-time economy Benefit 3: Social adventures Stories also transform experiences. Experiences Other people outside the group of friends are that were in reality uncomfortable, painful or a critical component of the drunken night out, distressing may be transformed into positive and providing the opportunity for social adventures – amusing stories. Many stories described by their more intense and extreme social interactions with protagonists as ‘embarrassing’ are in fact prized for strangers. Social adventures can range in extremity their role in creating and confirming a desirable from simply meeting and talking to new people to drunken night out identity. However, there are sexual encounters of different kinds and, for some limits to the extent to which bad experiences can people, fighting. be transformed in this way. Moreover, stories may become genuinely shaming when shared with However, other people also introduce an the wrong audiences – for example, older family inescapable element of risk.
Recommended publications
  • Seattle's Seafaring Siren: a Cultural Approach to the Branding Of
    Running Head: SEATTLE’S SEAFARING SIREN 1 Seattle’s Seafaring Siren: A Cultural Approach to the Branding of Starbucks Briana L. Kauffman Master of Arts in Media Communications March 24, 2013 SEATTLE’S SEAFARING SIREN 2 Thesis Committee Starbucks Starbucks Angela Widgeon, Ph.D, Chair Date Starbucks Starbucks Stuart Schwartz, Ph.D, Date Starbucks Starbucks Todd Smith, M.F.A, Date SEATTLE’S SEAFARING SIREN 3 Copyright © 2013 Briana L. Kauffman All Rights Reserved SEATTLE’S SEAFARING SIREN 4 Abstract Many corporate brands tend to be built on a strong foundation of culture, but very minimal research seems to indicate a thorough analysis of the role of an organizational’s culture in its entirety pertaining to large corporations. This study analyzed various facets of Starbucks Coffee Company through use of the cultural approach to organizations theory in order to determine if the founding principles of Starbucks are evident in their organizational culture. Howard Schultz’ book “Onward” was analyzed and documented as the key textual artifact in which these principles originated. Along with these principles, Starbucks’ Website, Facebook, Twitter and YouTube page were analyzed to determine how Starbucks’ culture was portrayed on these sites. The rhetorical analysis of Schultz’ book “Onward” conveyed that Starbucks’ culture is broken up into a professional portion and a personal portion, each overlapping one another in its principles. After sifting through various tweets, posts and videos, this study found that Starbucks has created a perfect balance of culture, which is fundamentally driven by their values and initiatives in coffee, ethics, relationships and storytelling. This study ultimately found that Starbucks’ organizational culture is not only carrying out their initiatives that they principally set out to perform, but they are also doing so across all platforms while engaging others to do the same.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • Trails of the Cocktail 5 14 18.Pdf
    Trails of the Cocktail Few cities can boast more historic significance in their cocktail culture than the Crescent City: birthplace of the Sazerac, Ramos Gin Fizz, the Grasshopper, the Hurricane, and (backed by one of the best apocryphal origin stories ever concocted) even the cocktail itself. In 1769 Spanish Colonial Governor of Louisiana Alejandro O‟Reilly issued a proclamation allowing one limonadier (lemonade seller), twelve taverns and six billiard halls to dispense alcoholic beverages. Closing time was ordained to be 8 pm, but bribes to the necessary officials extended the hours over the years. Rum came into the port of New Orleans and was taxed by the Spanish colonial government. Pat O‟s, Home of “The Hurricane” The “Hurricane”, the most popular drink at Pat O‟Brien‟s in the French Quarter, was created during World War II when liquor such as whiskey was in short supply. In order to purchase just one case of these preferred liquors, liquor salesmen compelled bar owners to purchase as many as 50 cases of rum, which was plentiful. In an effort to utilize the excess of rum, Pat O‟Brien's famous recipe emerged. The name came along soon after when a glass (shaped like a hurricane lamp chimney) was used to serve the popular rum cocktail. Don the Beachcomber (1907 — 1989), founding father of Tiki culture (Tiki bars, restaurants and nightclubs), enjoyed great popularity in the United States — mostly from the late 1940s through the mid-1960s. He and his friendly rival “Trader Vic” Bergeron are still remembered for their cultural influence.
    [Show full text]
  • [email protected] • SEPT. 26-OCT. 10, 2018 • 251-968-5683 • 850-492-5221 Page 2 • the Mullet Wrapper • Sept
    [email protected] • SEPT. 26-OCT. 10, 2018 • 251-968-5683 • 850-492-5221 Page 2 • The Mullet Wrapper • Sept. 26-Oct. 10, 2018 • Ad. Info: 251-968-5683 or 850-492-5221 • SHARE YOUR COMMUNITY NEWS• E-Mail: [email protected] A Bill McGinnes owned local institution for 31 years WARM BEER & LOUSY PIZZA Happy Hour 11-7 Mon-Fri LIVE MUSIC NIGHTLY Full Menu ‘Til Midnight NEVER A COVER EVERY MON, TUE, WED & THURS Dine-In Football Specials • Sat-Sun 11-5* Smokey Otis & Mark Laborde Auburn, Tide & Big 10 Football • NFL TICKET SEPT. 28 & 29: DAILY LUNCH SPECIALS Bo Grant (of The Platters) MON - Homemade Chicken Pot Pie - $5.95 TUE - Tacos - $5.95 SEPT. 30: Destiny Brown WED - Chicken & Dumplings - $5.95 THUR - Hamburger Steak, Potatos & Gravy, Black Eyed Peas, Bread - $5.95 OCT. 5-6 Touch of Class FRI - Blackened Whitefish w. Rice Pilaf, Broccoli & Cheese, Bread - $5.95 Ad. Info: 251-968-5683 OR 850-492-5221 • SHARE YOUR COMMUNITY NEWS • Email: [email protected] • Sept. 26-Oct. 10, 2018 • Page 3 Page 4 • The Mullet Wrapper • Sept. 26-Oct. 10, 2018 • Ad. Info: 251-968-5683 or 850-492-5221 • SHARE YOUR COMMUNITY NEWS• E-Mail: [email protected] Ad. Info: 251-968-5683 OR 850-492-5221 • SHARE YOUR COMMUNITY NEWS • Email: [email protected] • Sept. 26-Oct. 10, 2018 • Page5 Page 6 • The Mullet Wrapper • Sept. 26-Oct. 10, 2018 • Ad. Info: 251-968-5683 or 850-492-5221 • SHARE YOUR COMMUNITY NEWS• E-Mail: [email protected] AROUND TOWN City of Gulf Shores Movies at Meyer Park Series begins Sept.
    [Show full text]
  • Hundreds of Country Artists Have Graced the New Faces Stage. Some
    314 performers, new face book 39 years, 1 stage undreds of country artists have graced the New Faces stage. Some of them twice. An accounting of every one sounds like an enormous Requests Htask...until you actually do it and realize the word “enormous” doesn’t quite measure up. 3 friend requests Still, the Country Aircheck team dug in and tracked down as many as possible. We asked a few for their memories of the experience. For others, we were barely able to find biographical information. And we skipped the from his home in Nashville. for Nestea, Miller Beer, Pizza Hut and “The New Faces Show had Union 76, among others. details on artists who are still active. (If you need us to explain George Strait, all those radio people, and for instance, you’re probably reading the wrong publication.) Enjoy. I made a lot of friends. I do Jeanne Pruett: Alabama native Pruett remember they had me use enjoyed a solid string of hits from the early the staff band, and I was ’70s right into the ’80s including the No. resides in Nashville, still tours and will suffering some anxiety over not being able 1 smash, “Satin Sheets.” Pruett is based receive a star in the Hollywood Walk of to use my band.” outside of Nashville and is still active as a 1970 Fame in October, 2009. performer and as a member of the Grand Jack Barlow: He charted with Ole Opry. hits like “Baby, Ain’t That Love” Bobby Harden: Starting out with his two 1972 and “Birmingham Blues,” but by sisters as the pop-singing Harden Trio, Connie Eaton: The Nashville native started Mel Street: West Virginian Street racked the mid-’70s Barlow had become the nationally Harden cracked the country Top 50 back her country career as a teenager and hit the up a long string of hits throughout the ’70s, famous voice of Big Red chewing gum.
    [Show full text]
  • 1. This Can't Be Good 2. Don't Make Me 3. the More I Drink 4. I Don't
    1. THIS CAN’T BE GOOD d 2. DON’T MAKE ME o 3. THE MORE I DRINK o 4. I DON’T CARE D 5. SHE DON’T LOVE ME o 6. BACK THERE AgAIN d 7. It AIN’T EASY BEIN’ ME o 8. WHAT I WOULDN’T GIVE d 9. I HAVE BEEN LONELY D 10. SHE CAN’T GET THAT D 11. THE LAST COUNTRY SONG D 12. CHANCES D 13. I CAN’T WALK AWAY D 14. HOME o DPRODUCED BY BOBBY BRADDOCK oPRODUCED BY BRENT ROWAN dPRODUCED BY PAUL WORLEY This Can’T BE GOOD Don’T MAKE ME There’s a campfire burning on the Mississippi riverbank Girl when I look at you, you look through me My old pickup speakers are cranking out a lot of Hank Like I’m not even there That’s the sheriff’s daughter dancing on my hood I’m trying not to give up, to be strong but With an empty bottle, this can’t be good I’m afraid to say I’m scared I can’t find the place your heart is hiding There’s an unwritten law in this sleepy little town And I’m no quitter but I’m tired of fighting There ain’t no drinking on the river when the sun goes down I think I see the blue lights coming through the woods Chorus: It’s the sheriff and his posse, this can’t be good Baby I love you, Don’t wanna lose you Don’t make me let you go, Took such a long time Everybody’s running like the end of the world was coming For me to find you, Don’t make me let you go With a Buford T kind of lawman closing in Baby I’m beggin’ please, and I’m down here on my knees She just keeps on rocking, guess I better do some talking I don’t want to have to set you free She’s too dumb to run and I’m too drunk to swim Don’t make me This can’t be good, this can’t be good What
    [Show full text]
  • David Lee Murphy Bio with Picture 2018
    Million-selling singer-songwriter David Lee Murphy had no plans to make a new record until a country superstar made them for him. “I’ve been friends and written songs with Kenny (Chesney) for years,” Murphy reflects. “I sent him some songs for one of his albums a couple of years ago, and he called me up. He goes, ‘Man, you need to be making a record. I could produce it with Buddy Cannon, and I think people would love it.’ It’s hard to say no to Kenny Chesney when he comes up with an idea like that.” Murphy, whose songs “Dust on the Bottle and “Party Crowd” continue to be staples at country radio, could have easily filled the album with hits he’s written for Chesney (“’Til It’s Gone,” “Living in Fast Forward,” “Live a Little”), Jason Aldean (“Big Green Tractor,” “The Only Way I Know How”), Thompson Square (GRAMMY-nominated “Are You Gonna Kiss Me Or Not”), Jake Owen (“Anywhere With You”), or Blake Shelton (“The More I Drink”). But, Chesney had other ideas. “Kenny was really influential in the songs that we picked,” says Murphy. “Over the course of the next year or so, we got together, talked about it and picked out songs. I wanted to record songs of mine that people haven’t heard before, that are new. We wanted to make the kind of album that you would listen to if you were camping or out on a lake, fishing. Or sitting anywhere, just having a good time.” Titled No Zip Code, the new David Lee Murphy collection has already yielded a hit single and duet with Chesney, “Everything’s Gonna Be Alright.” The collection also contains such good-time, party-hearty anthems as “Get Go,” “Haywire” and “That’s Alright.” The rocking “Way Gone” is a female-empowerment barn burner.
    [Show full text]
  • Karaoke Catalog Updated On: 09/04/2018 Sing Online on Entire Catalog
    Karaoke catalog Updated on: 09/04/2018 Sing online on www.karafun.com Entire catalog TOP 50 Tennessee Whiskey - Chris Stapleton My Way - Frank Sinatra Wannabe - Spice Girls Perfect - Ed Sheeran Take Me Home, Country Roads - John Denver Broken Halos - Chris Stapleton Sweet Caroline - Neil Diamond All Of Me - John Legend Sweet Child O'Mine - Guns N' Roses Don't Stop Believing - Journey Jackson - Johnny Cash Thinking Out Loud - Ed Sheeran Uptown Funk - Bruno Mars Wagon Wheel - Darius Rucker Neon Moon - Brooks & Dunn Friends In Low Places - Garth Brooks Fly Me To The Moon - Frank Sinatra Always On My Mind - Willie Nelson Girl Crush - Little Big Town Zombie - The Cranberries Ice Ice Baby - Vanilla Ice Folsom Prison Blues - Johnny Cash Piano Man - Billy Joel (Sittin' On) The Dock Of The Bay - Otis Redding Bohemian Rhapsody - Queen Turn The Page - Bob Seger Total Eclipse Of The Heart - Bonnie Tyler Ring Of Fire - Johnny Cash Me And Bobby McGee - Janis Joplin Man! I Feel Like A Woman! - Shania Twain Summer Nights - Grease House Of The Rising Sun - The Animals Strawberry Wine - Deana Carter Can't Help Falling In Love - Elvis Presley At Last - Etta James I Will Survive - Gloria Gaynor My Girl - The Temptations Killing Me Softly - The Fugees Jolene - Dolly Parton Before He Cheats - Carrie Underwood Amarillo By Morning - George Strait Love Shack - The B-52's Crazy - Patsy Cline I Want It That Way - Backstreet Boys In Case You Didn't Know - Brett Young Let It Go - Idina Menzel These Boots Are Made For Walkin' - Nancy Sinatra Livin' On A Prayer - Bon
    [Show full text]
  • Request List 619 Songs 01012021
    PAT OWENS 3 Doors Down Bill Withers Brothers Osbourne (cont.) Counting Crows Dierks Bentley (cont.) Elvis Presley (cont.) Garth Brooks (cont.) Hank Williams, Jr. Be Like That Ain't No Sunshine Stay A Little Longer Accidentally In Love I Hold On Can't Help Falling In Love Standing Outside the Fire A Country Boy Can Survive Here Without You Big Yellow Taxi Sideways Jailhouse Rock That Summer Family Tradition Kryptonite Billy Currington Bruce Springsteen Long December What Was I Thinking Little Sister To Make You Feel My Love Good Directions Glory Days Mr. Jones Suspicious Minds Two Of A Kind Harry Chapin 4 Non Blondes Must Be Doin' Somethin' Right Rain King Dion That's All Right (Mama) Two Pina Coladas Cat's In The Cradle What's Up (What’s Going On) People Are Crazy Bryan Adams Round Here Runaround Sue Unanswered Prayers Pretty Good At Drinking Beer Heaven Eric Church Hinder 7 Mary 3 Summer of '69 Craig Morgan Dishwalla Drink In My Hand Gary Allan Lips Of An Angel Cumbersome Billy Idol Redneck Yacht Club Counting Blue Cars Jack Daniels Best I Ever Had Rebel Yell Buckcherry That's What I Love About Sundays Round Here Buzz Right Where I Need To Be Hootie and the Blowfish Aaron Lewis Crazy Bitch This Ole Boy The Divinyls Springsteen Smoke Rings In The Dark Hold My Hand Country Boy Billy Joel I Touch Myself Talladega Watching Airplanes Let Her Cry Only The Good Die Young Buffalo Springfield Creed Only Wanna Be With You AC/DC Piano Man For What It's Worth My Sacrifice Dixie Chicks Eric Clapton George Jones Time Shook Me All Night Still Rock And
    [Show full text]
  • Chemical Exposures: Low Levels and High Stakes, Second Edition
    Chemical Exposures Chemical Exposures Low Levels and High Stakes Second Edition Nicholas A. Ashford Claudia S. Miller JOHN WILEY & SONS, INC. NewYork • Chichester • Weinheim • Brisbane • Singapore • Toronto This text is printed on acid-free paper. Copyright © 1998 by John Wiley & Sons, Inc. All rights reserved. Published simultaneously in Canada. No part ofthis 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 Sections 107 and 108 ofthe 1976 United States Copyright Act, without either the prior written permission ofthe 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) 750-4744. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 605 Third Avenue, New York, NY 10158-0012. (212) 850-6011, fax (212) 850-6008, E-mail: [email protected]. Library ofCongress Cataloging-in-Publication Data Ashford, Nicholas Askounes. Chemical exposures: low levels and high stakes / Nicholas A. Ashford & Claudia S. Miller - 2nd ed. p. em. Includes bibliographical references and indexes. ISBN 0-471-29240-0 I. Multiple chemical sensitivity. I. Miller, Claudia. II. Title. RB I52.6.A84 1997 615.9'02-dc21 97-19690 CIP 10 9 8 7 6 5 4 3 To my mother, Venette Askounes Ashford, from whom I learned to have compassion for those less fartunate than I, and who inspired me to help. -N.A.A. To my parents, Constance Lawrence Schultz.
    [Show full text]
  • GAC's Top 2007 Videos
    ISSUE 69 MUS I C EDITION DECE M BER 17, 2007 PPM: A Whole New Playbook HAPPY HOLIDAYS !!! “You need to know how the lives of PDs and radio stations are going to change in the coming years.” And with that opener, Country radio and the music business have enjoyed Country Aircheck’s Lon Helton framed Friday’s presentation an exciting and tumultuous 2007, and this last chart and of The People Meter: What It Means To The Country Music Country Aircheck Music Edition of the year is a capper Industry for a biz-heavy crowd at the Country Music Hall of for many at the intersection of those two businesses. Fame’s Ford Theater. Whatever this year has held for you, and whatever may While the room was thick with top-level promotion executives as well as a handful of prominent radio execs, the panel was come in 2008, hopefully it’s all a backdrop to more comprised of those who know PPM as well as anyone – which important things now upon us – family, friends and some may not be saying much. “There are no PPM experts,” said well-deserved downtime. MediaSense’s Bob Michaels, a former Arbitron executive. “I’ve We have a couple more daily emails for you, but other been looking at this as long as anyone, and I’m not an expert.” than that you’ll likely hear from us next in 2008. Until Nevertheless, the assembled were given a glimpse at PPM’s then, the folks at Country Aircheck wish you and yours a ability to deliver surging rivers of data, and heard just how carefully safe and happy holiday season.
    [Show full text]
  • Drinking Games the Complete Guide Contents
    Drinking Games The Complete Guide Contents 1 Overview 1 1.1 Drinking game ............................................. 1 1.1.1 History ............................................ 1 1.1.2 Types ............................................. 2 1.1.3 See also ............................................ 3 1.1.4 References .......................................... 3 1.1.5 Bibliography ......................................... 4 1.1.6 External links ......................................... 4 2 Word games 5 2.1 21 ................................................... 5 2.1.1 Rules ............................................. 5 2.1.2 Additional rules ........................................ 5 2.1.3 Example ............................................ 6 2.1.4 Variations ........................................... 6 2.1.5 See also ............................................ 6 2.2 Fuzzy Duck .............................................. 6 2.2.1 References .......................................... 6 2.3 Ibble Dibble .............................................. 7 2.3.1 Ibble Dibble .......................................... 7 2.3.2 Commercialisation ...................................... 7 2.3.3 References .......................................... 7 2.4 Never have I ever ........................................... 7 2.4.1 Rules ............................................. 7 2.4.2 In popular culture ....................................... 8 2.4.3 See also ............................................ 8 2.4.4 References .........................................
    [Show full text]