Internet trolls live to upset as many people as possible, using all the technical and psychological tools at their disposal. They gleefully whip the media into a frenzy over a fake teen drug crisis; they post offensive messages on Facebook memorial pages, traumatizing grief-stricken friends and family; they use unabashedly racist language and images. They take pleasure in ruining a complete stranger's day and find amusement in their victim's anguish. In short, trolling is the obstacle to a kinder, gentler Internet. To quote a famous Internet meme, trolling is why we can't have nice things online. Or at least that's what we have been led to believe. In this provocative book, Whitney Phillips argues that trolling, widely condemned as obscene and deviant, actually fits comfortably within the contemporary media landscape. Trolling may be obscene, but, Phillips argues, it isn't all that deviant. Trolls' actions are born of and fueled by culturally sanctioned impulses -- which are just as damaging as the trolls' most disruptive behaviors. Phillips describes, for example, the relationship between trolling and sensationalist corporate media -- pointing out that for trolls, exploitation is a leisure activity; for media, it's a business strategy. She shows how trolls, "the grimacing poster children for a socially networked world," align with social media. And she documents how trolls, in addition to parroting media tropes, also offer a grotesque pantomime of dominant cultural tropes, including gendered notions of dominance and success and an ideology of entitlement. We don't just have a trolling problem, Phillips argues; we have a culture problem. This Is Why We Can't Have Nice Things isn't only about trolls; it's about a culture in which trolls thrive.

MSD, Dhoni, Mahi or Mahendra Singh Dhoni is not just the name of a person. It represents a culture in itself, a culture of sportsmanship, a mark of charisma and a never-say-die attitude at work. This book isn't yet another biography on Dhoni, nor it is a compilation of statistics on his cricket performance over the years. It is a commentary of his way of cricket and his art of living. Readers can choose to revel in this one-of-a-kind book on MSD, that presents a free-flow of how a genuine celebrity like him is perceived by a common fan.The name 'Dhoni' exudes rave fashion, a movement of goodness that comprises millions of heartbeats. With him, you never know when the lightning of cricket shots may strike upon the opposition team. Renowned for his prowess behind the stumps and for his much-talked-about 'Helicopter' shot as a batsman, Dhoni is no less than a rage in the cricket fraternity.

In this report I investigated the Famous feud between Kim Kardashian, Kanye West and Taylor Swift from 10 points of research. This report was born out of the urgent need to provide clearer, more transparent information and better-founded examples to explain the Famous feud in a different way than what Kim Kardashian, Kanye West and Taylor Swift offered through music, interviews and other media content. This report explored the background strategies of Kanye West, Kim Kardashian and Taylor Swift to maintain popularity and fame in an ever-changing world: sacrifices, intelligence, methods of communications, side effects and a minimal view of the efficiency of their strategies in the long term. I’m gonna let you finish reading it, but ‘On the Famous Feud’ it is a unique and original investigation, there is no other research which explores this feud on various levels; at the time of publishing, this report is the most advanced analysis of the Famous feud. Second Edition July 2023

In an unorthodox approach, Georgetown University professor Cal Newport debunks the long-held belief that "follow your passion" is good advice, and sets out on a quest to discover the reality of how people end up loving their careers. Not only are pre-existing passions rare and have little to do with how most people end up loving their work, but a focus on passion over skill can be dangerous, leading to anxiety and chronic job hopping. Spending time with organic farmers, venture capitalists, screenwriters, freelance computer programmers, and others who admitted to deriving great satisfaction from their work, Newport uncovers the strategies they used and the pitfalls they avoided in developing their compelling careers. Cal reveals that matching your job to a pre-existing passion does not matter. Passion comes after you put in the hard work to become excellent at something valuable, not before. In other words, what you do for a living is much less important than how you do it. With a title taken from the comedian Steve Martin, who once said his advice for aspiring entertainers was to "be so good they can't ignore you," Cal Newport's clearly written manifesto is mandatory reading for anyone fretting about what to do with their life, or frustrated by their current job situation and eager to find a fresh new way to take control of their livelihood. He provides an evidence-based blueprint for creating work you love, and will change the way you think about careers, happiness, and the crafting of a remarkable life.

In the history of human nature there are conflicts with a happy ending, or with a tragic ending. The Famous Feud, in general, seems to have a happy ending with one winner: Taylor Swift. From my point of view, the Famous Feud ended in July 2016. In June 2017 I was convinced that Taylor Swift was the victim (for the second time) of Kanye West. In October 2023, after I have updated the entire research on the Famous Feud, the original conclusion did not change. I created this edition to include everything I wrote about the Famous Feud. It is an edition for people interested in reading the entire Famous Feud story from A to Z. The Famous Feud Project report has two parts: Part 1. Music in Black and White: A Journey Behind the Musical Notes; Part 2. On the Famous Feud. Enjoy your reading!

In 2016, social media users in Thailand called out the Paris-based luxury fashion house Balenciaga for copying the popular Thai “rainbow bag,” using Balenciaga’s hashtags to circulate memes revealing the source of the bags’ design. In Why We Can’t Have Nice Things Minh-Ha T. Pham examines the way social media users monitor the fashion market for the appearance of knockoff fashion, design theft, and plagiarism. Tracing the history of fashion antipiracy efforts back to the 1930s, she foregrounds the work of policing that has been tacitly outsourced to social media. Despite the social media concern for ethical fashion and consumption and the good intentions behind design policing, Pham shows that it has ironically deepened forms of social and market inequality, as it relies on and reinforces racist and colonial norms and ideas about what constitutes copying and what counts as creativity. These struggles over ethical fashion and intellectual property, Pham demonstrates, constitute deeper struggles over the colonial legacies of cultural property in digital and global economies.

This critical and inclusive edited collection offers an overview of the musical in relation to issues of race, culture and identity. Bringing together contributions from cultural, American and theatre studies for the first time, the chapters offer fresh perspectives on musical theatre history, calling for a radical and inclusive new approach. By questioning ideas about what the musical is about and who it for, this groundbreaking book retells the story of the musical, prioritising previously neglected voices to reshape our understanding of the form. Timely and engaging, this is required reading for undergraduate and postgraduate students of musical theatre. It offers an intersectional approach which will also be invaluable for theatre practitioners.

Politics of the Administrative Process shows how efficient public administration requires a delicate balance—the bureaucracy must be powerful enough to be effective, but also accountable to elected officials and citizens. Author Don Kettl gives students a realistic, relevant, and well-researched view of the field in this reader–friendly best seller. With its engaging vignettes, rich examples and a unique focus on policymaking and politics, the Seventh Edition continues its strong emphasis on politics, accountability, and performance. This new edition has been thoroughly updated with new scholarship, data, events, and case studies, giving students multiple opportunities to apply ideas and analysis as they read.

Misogyny Online explores the worldwide phenomenon of gendered cyberhate as a significant discourse which has been overlooked and marginalised. The rapid growth of the internet has led to numerous opportunities and benefits; however, the architecture of the cybersphere offers users unprecedented opportunities to engage in hate speech. A leading international researcher in this field, Emma A. Jane weaves together data and theory from multiple disciplines and expresses her findings in a style that is engaging, witty and powerful. Misogyny Online is an important read for students and faculty members alike across the social sciences and humanities.

Global inequalities and our social identities shape who we are, who we can be online, and what we know. From social media to search engines to Wikipedia, the internet is thoroughly embedded in how we produce, find, and share knowledge around the world. Who Should We Be Online? examines the challenges of the online world using numerous epistemological approaches. Tackling problems of online content moderation, fake news, and hoaxes, Frost-Arnold locates the role that sexism, racism, and other forms of oppression play in creating and sharing knowledge online. Timely and interdisciplinary, Who Should We Be Online? weaves together internet studies scholarship from across the humanities, social sciences, and computer science. Frost-Arnold recognizes that the internet can both fuel ignorance and misinformation and simultaneously offer knowledge to marginalized groups and activists. Presenting case studies of moderators, imposters, and other internet personas, Frost-Arnold explains the problems with our current internet ecosystem and imagines a more just online future. Who Should We Be Online? argues for a social epistemology that values truth and objectivity, while recognizing that inequalities shape our collective ability to attain these goals. Frost-Arnold proposes numerous suggestions and reform strategies to make the internet more conducive to knowledge production and sharing.