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It's been over six months since the eruption of the Yellowstone supervolcano. Alex and Darla have been staying with Alex’s relatives, trying to cope with the new reality of the primitive world so vividly portrayed in Ashfall, the first book in this series. It's also been six months of waiting for Alex's parents to return from Iowa. Alex and Darla decide they can wait no longer and must retrace their journey into Iowa to find and bring back Alex's parents to the tenuous safety of Illinois. But the landscape they cross is even more perilous than before, with life-and-death battles for food and power between the remaining communities. When the unthinkable happens, Alex must find new reserves of strength and determination to survive.
From acclaimed musician Alicia Keys, author of the memoir More Myself, comes a revealing songbook of collected poems and lyrics that document her growth as a person, a woman, and an artist. “All my life, I’ve written these words with no thought or intention of sharing them. Not even with my confidants. These are my most delicate thoughts. The ones that I wrote down just so I could understand what in the world these things I was thinking meant...” When she burst onto the music scene with her multi-million bestselling, Grammy® Award-winning first album, Songs in A Minor, Alicia Keys became a superstar. Two decades later, her career has expanded into producing, acting, and passionate activism—winning her worldwide acclaim, numerous awards, and a spot on Time’s list of “The 100 Most Influential People.” Though Alicia has been very vocal through her career, there were always “delicate thoughts” that she never before imagined she’d share with anyone else—until now. In Tears for Water, Alicia Keys opens the journals and notebooks that she has kept throughout her life and reveals her heart to her fans in return for all the love they have shown to her and her music. Hello morning now I see you cause I am awake What was once so sweet and secure has turned out to be fake Girl, you can’t be scared gotta stand up tall and let ’em see what shines in you Push aside the part lying in your heart like the ocean is deep, dark and blue —from Golden Child
From the contents:00I. Participatory art now01. The normalisation of participatory art 0II. What is participatory art?02. Concepts03. Defnitions04. The intentions of participatory art 05. The art of participatory art 06. The ethics of participatory art 0III. Where does participatory art come from?07. Making history 08. Deep roots 09. Community art and the cultural revolution (1968 to 1988) 010. Participatory art and appropriation (1988 to 2008).
Covering—the musical practice of one artist recording or performing another composer's song—has always been an attribute of popular music. In 2009, the internet database Second Hand Songs estimated that there are 40,000 songs with at least one cover version. Some of the more common variations of this "appropriationist" method of musical quotation include traditional forms such as patriotic anthems, religious hymns such as Amazing Grace, Muzak's instrumental interpretations, Christmas classics, and children's songs. Novelty and comedy collections from parodists such as Weird Al Yankovic also align in the cover category, as does the "larcenous art" of sampling, and technological variations in dance remixes and mash-ups. Film and television soundtracks and advertisers increasingly rely on versions of familiar pop tunes to assist in marketing their narratives and products. The cover phenomenon in popular culture may be viewed as a postmodern manifestation in music as artists revisit, reinterpret and re-examine a significant cross section of musical styles, periods, genres, individual records, and other artists and their catalogues of works.The cover complex, with its multiple variations, issues, contexts, and re-contextualizations comprises an important and rich popular culture text. These re-recordings represent artifacts which embody artistic, social, cultural, historical, commercial, biographical, and novel meanings. Through homage, allusion, apprenticeship, and parody, among other modes, these diverse musical quotations express, preserve, and distribute popular culture, popular music and their intersecting historical narratives. Play it Again represents the first collection of critical perspectives on the many facets of cover songs in popular music.
THE HIGHLY ANTICIPATED DEBUT BOOK OF POETRY FROM LANA DEL REY, VIOLET BENT BACKWARDS OVER THE GRASS “Violet Bent Backwards Over the Grass is the title poem of the book and the first poem I wrote of many. Some of which came to me in their entirety, which I dictated and then typed out, and some that I worked laboriously picking apart each word to make the perfect poem. They are eclectic and honest and not trying to be anything other than what they are and for that reason I’m proud of them, especially because the spirit in which they were written was very authentic.”—Lana Del Rey Lana’s breathtaking first book solidifies her further as “the essential writer of her times” (The Atlantic). The collection features more than thirty poems, many exclusive to the book: Never to Heaven, The Land of 1,000 Fires, Past the Bushes Cypress Thriving, LA Who Am I to Love You?, Tessa DiPietro, Happy, Paradise Is Very Fragile, Bare Feet on Linoleum, and many more. This beautiful hardcover edition showcases Lana’s typewritten manuscript pages alongside her original photography. The result is an extraordinary poetic landscape that reflects the unguarded spirit of its creator. Violet Bent Backwards Over the Grass is also brought to life in an unprecedented spoken word audiobook which features Lana Del Rey reading fourteen select poems from the book accompanied by music from Grammy Award-winning musician Jack Antonoff.
This book examines the cognitive, social and behavioural skills that leaders need to have within their capability portfolio and how this can be applied to drive a diversity agenda in their organizations. The book presents LEAD3 - an analytical tool that offers an integrated change management process to build leadership and diversity capability.
He's made $100 million, is the hottest DJ in the world and has worked with the pop royalty - but who is Calvin Harris? And how did he go from stacking shelves in his local supermarket to such astonishing global success? He's come a long way from making music in his bedroom in his native Dumfries but since bursting onto the music scene with 'Acceptable in the 80s' in 2007, he has broken Michael Jackson's record for most hits from one album, become the first British artist to have one billion plays on Spotify and turned hit-maker for stars like Kylie Minogue, Rihanna, Cheryl Cole and Dizzee Rascal. This is the astonishing story of Calvin Harris's journey from struggling musician to international star, revealing what makes him tick, why he has the Midas touch, how he went from being a lanky kid with little self-confidence to a modelling deal with Armani and how he became a global megastar.
By examining Black mixed-race identities in the city through a series of historical vantage points, Making Mixed Race provides in-depth insights into the geographical and historical contexts that shape the possibilities and constraints for identifications. Whilst popular representations of mixed-race often conceptualise it as a contemporary phenomenon and are couched in discourses of futurity, this book dislodges it from the current moment to explore its emergence as a racialised category, and personal identity, over time. In addition to tracing the temporality of mixed-race, the contributions show the utility of place as an analytical tool for mixed-race studies. The conceptual framework for the book – place, time, and personal identity – offers a timely intervention to the scholarship that encourages us to look outside of individual subjectivities and critically examine the structural contexts that shape Black mixed-race lives. The book centres around the life histories of 37 people of Mixed White and Black Caribbean heritage born between 1959 and 1994, in Britain’s second-largest city, Birmingham. The intimate life portraits of mixed identity reveal how colourism, family, school, gender, whiteness, racism, and resistance, have been experienced against the backdrop of post-war immigration, Thatcherism, the ascendency of Black diasporic youth cultures, and contemporary post-race discourses. It will be of interest to researchers, postgraduate and undergraduate students who work on (mixed) race and ethnicity studies in academic areas including geographies of race, youth identities/cultures, gender, colonial legacies, intersectionality, racism, and colourism.