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"Dancing Transnational Feminisms brings together reflections and critical responses about the embodied creative practices that have been part of the work of Ananya Dance Theatre (ADT), a Twin Cities-based dance company of women of color who work at the intersections of artistic excellence and social justice. Focusing on ADT's creative processes and organizational strategies, the book highlights how women and femme artists of color, working with a marginalized movement aesthetic, claim and transform the spaces of contemporary concert dance into sites of empowerment, resistance, and knowledge production. Blending essays with epistolary texts, interviews and poems, the collection's contributors offer up a multigenre exploration of how dance and other artistic undertakings can be intersectionally reimagined. Building on more than fifteen years of collaborative dance-making and sustained dialogues, Dancing Transnational Feminisms delves into timely questions surrounding race and performance, art and politics, global and local inequities and the responsibilities of artists towards the communities they come from"--

WHAT VALUABLE COMPANY IS NOBODY BUILDING? The next Bill Gates will not build an operating system. The next Larry Page or Sergey Brin won’t make a search engine. If you are copying these guys, you aren’t learning from them. It’s easier to copy a model than to make something new: doing what we already know how to do takes the world from 1 to n, adding more of something familiar. Every new creation goes from 0 to 1. This book is about how to get there. ‘Peter Thiel has built multiple breakthrough companies, and Zero to One shows how.’ ELON MUSK, CEO of SpaceX and Tesla ‘This book delivers completely new and refreshing ideas on how to create value in the world.’ MARK ZUCKERBERG, CEO of Facebook ‘When a risk taker writes a book, read it. In the case of Peter Thiel, read it twice. Or, to be safe, three times. This is a classic.’ NASSIM NICHOLAS TALEB, author of The Black Swan

What is the purpose of studying history? How do we reflect on contemporary life from a historical perspective, and can such reflection help us better understand ourselves, the world around us, and the God we worship and serve? Written by an accomplished historian, award-winning author, public evangelical spokesman, and respected teacher, this introductory textbook shows why Christians should study history, how faith is brought to bear on our understanding of the past, and how studying the past can help us more effectively love God and others. John Fea shows that deep historical thinking can relieve us of our narcissism; cultivate humility, hospitality, and love; and transform our lives more fully into the image of Jesus Christ. The first edition of this book has been used widely in Christian colleges across the country. The second edition provides an updated introduction to the study of history and the historian's vocation. The book has also been revised throughout and incorporates Fea's reflections on this topic from throughout the past 10 years.

Ready to stand up and create positive change at work, but reluctant to speak up? True leadership doesn’t always come from a position of power or authority. By teaching you skills and providing practical advice, this handbook shows you how to engage your coworkers and bosses and bring your ideas forward so that they are heard, considered, and acted upon. Authors Carmen Medina and Lois Kelly—once rebels themselves—reveal ways to navigate your workplace, avoid common mistakes and traps, and overcome the fears that may be holding you back. You can achieve more success and less frustration, help your organization do better work, and—most important—find more meaning and joy in what you do.

An all-access history of the evolution of the American restaurant chef Chefs, Drugs and Rock & Roll transports readers back in time to witness the remarkable evolution of the American restaurant chef in the 1970s and '80s. Taking a rare, coast-to-coast perspective, Andrew Friedman goes inside Chez Panisse and other Bay Area restaurants to show how the politically charged backdrop of Berkeley helped draw new talent to the profession; into the historically underrated community of Los Angeles chefs, including a young Wolfgang Puck and future stars such as Susan Feniger, Mary Sue Milliken, and Nancy Silverton; and into the clash of cultures between established French chefs in New York City and the American game changers behind The Quilted Giraffe, The River Cafe, and other East Coast establishments. We also meet young cooks of the time such as Tom Colicchio and Emeril Lagasse who went on to become household names in their own right. Along the way, the chefs, their struggles, their cliques, and, of course, their restaurants are brought to life in vivid detail. As the '80's unspool, we see the profession evolve as American masters like Thomas Keller rise, and watch the genesis of a “chef nation” as these culinary pioneers crisscross the country to open restaurants and collaborate on special events, and legendary hangouts like Blue Ribbon become social focal points, all as the industry-altering Food Network shimmers on the horizon. Told largely in the words of the people who lived it, as captured in more than two hundred author interviews with writers like Ruch Reichl and legends like Jeremiah Tower, Alice Waters, Jonathan Waxman, and Barry Wine, Chefs, Drugs and Rock & Roll treats readers to an unparalleled 360-degree re-creation of the business and the times through the perspectives not only of the groundbreaking chefs but also of line cooks, front-of-house personnel, investors, and critics who had front-row seats to this extraordinary transformation.

There are fewer grounds today than in the past to deplore a North‑South divide in research and innovation. This is one of the key findings of the UNESCO Science Report: towards 2030. A large number of countries are now incorporating science, technology and innovation in their national development agenda, in order to make their economies less reliant on raw materials and more rooted in knowledge. Most research and development (R&D) is taking place in high-income countries, but innovation of some kind is now occurring across the full spectrum of income levels according to the first survey of manufacturing companies in 65 countries conducted by the UNESCO Institute for Statistics and summarized in this report. For many lower-income countries, sustainable development has become an integral part of their national development plans for the next 10–20 years. Among higher-income countries, a firm commitment to sustainable development is often coupled with the desire to maintain competitiveness in global markets that are increasingly leaning towards ‘green’ technologies. The quest for clean energy and greater energy efficiency now figures among the research priorities of numerous countries. Written by more than 50 experts who are each covering the country or region from which they hail, the UNESCO Science Report: towards 2030 provides more country-level information than ever before. The trends and developments in science, technology and innovation policy and governance between 2009 and mid-2015 described here provide essential baseline information on the concerns and priorities of countries that could orient the implementation and drive the assessment of the 2030 Agenda for Sustainable Development in the years to come.

This book argues that contemporary dance, imagined to have a global belonging, is vitiated by euro-white constructions of risk and currency that remain at its core. Differently, the book reimagines contemporary dance along a “South-South” axis, as a poly-centric, justice-oriented, aesthetic-temporal category, with intersectional understandings of difference as a central organizing principle. Placing alterity and heat, generated via multiple pathways, at its center, it foregrounds the work of South-South artists, who push against constructions of “tradition” and white-centered aesthetic imperatives, to reinvent their choreographic toolkit and respond to urgent questions of their times. In recasting the grounds for a different “global stage,” the argument widens its scope to indicate how dance-making both indexes current contextual inequities and broader relations of social, economic, political, and cultural power, and inaugurates future dimensions of justice. Winner of the 2022 Oscar G. Brockett Prize for Dance Research