This book attacks the often implicit and damaging assumption that 'everyone' is online and that 'everyone' is using online resources within the specified parameters of employers, government and national laws. This book summons a critical Web Studies, asking not only who is using particular applications, but also how and why. This remedial work is required. The concept and label of 'Web 2.0' is part of a wide-ranging suite of assumptions that offer simple answers to difficult questions. The term captures a desire for online collaboration and the sharing of information, performed most visibly through blogs, podcasts and wikis. Other 'products' that capture the Web 2.0 ideology include Google Maps, Facebook, MySpace and Flickr. Within this framework, websites no long hold information but become a platform to connect applications with users. The business applications have gained the most attention - particularly content syndication - but there are also 'political' initiatives overlaying this project including open communication, the sharing of data and the deep linking of web architecture. - Development of innovative concepts and models to manage the digital divide - Evocative studies of the digitally excluded and downloading communities - Attention to digital literacy and online education

The study of the impact of Black Power Movement (BPM) activists and organizations in the 1960s through ʼ70s has largely been confined to their role as proponents of social change; but they were also theorists of the change they sought. In The Revolution Will Not Be Theorized Errol A. Henderson explains this theoretical contribution and places it within a broader social theory of black revolution in the United States dating back to nineteenth-century black intellectuals. These include black nationalists, feminists, and anti-imperialists; activists and artists of the Harlem Renaissance; and early Cold War–era black revolutionists. The book first elaborates W. E. B. Du Bois's thesis of the "General Strike" during the Civil War, Alain Locke's thesis relating black culture to political and economic change, Harold Cruse's work on black cultural revolution, and Malcolm X's advocacy of black cultural and political revolution in the United States. Henderson then critically examines BPM revolutionists' theorizing regarding cultural and political revolution and the relationship between them in order to realize their revolutionary objectives. Focused more on importing theory from third world contexts that were dramatically different from the United States, BPM revolutionists largely ignored the theoretical template for black revolution most salient to their case, which undermined their ability to theorize a successful black revolution in the United States. This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of The Pennsylvania State University. Learn more at the TOME website, available at: openmonographs.org, and access the book online at http://muse.jhu.edu/book/67098. It is also available through the SUNY Open Access Repository at http://hdl.handle.net/20.500.12648/1704.

A trillion-dollar industry, the US non-profit sector is one of the world's largest economies. From art museums and university hospitals to think tanks and church charities, over 1.5 million organizations of staggering diversity share the tax-exempt 501(c)(3) designation, if little else. Many social justice organizations have joined this world, often blunting political goals to satisfy government and foundation mandates. But even as funding shrinks, many activists often find it difficult to imagine movement-building outside the non-profit model. The Revolution Will Not Be Funded gathers essays by radical activists, educators, and non-profit staff from around the globe who critically rethink the long-term consequences of what they call the "non-profit industrial complex." Drawing on their own experiences, the contributors track the history of non-profits and provide strategies to transform and work outside them. Urgent and visionary, The Revolution Will Not Be Funded presents a biting critique of the quietly devastating role the non-profit industrial complex plays in managing dissent. Contributors. Christine E. Ahn, Robert L. Allen, Alisa Bierria, Nicole Burrowes, Communities Against Rape and Abuse (CARA), William Cordery, Morgan Cousins, Ruth Wilson Gilmore, Stephanie Guilloud, Adjoa Florência Jones de Almeida, Tiffany Lethabo King, Paul Kivel, Soniya Munshi, Ewuare Osayande, Amara H. Pérez, Project South: Institute for the Elimination of Poverty and Genocide, Dylan Rodríguez, Paula X. Rojas, Ana Clarissa Rojas Durazo, Sisters in Action for Power, Andrea Smith, Eric Tang, Madonna Thunder Hawk, Ije Ude, Craig Willse

Focusing on the information economy, free trade exploitation, and confronting terrorist violence, Mark Findlay critiques law's regulatory commodification. Conventional legal regulatory modes such as theft and intellectual property are being challenged by waves of property access and use, which demand the rethinking of property 'rights' and their relationships with the law. Law's Regulatory Relevance?theorises how the law should reposition itself in order to help rather than hinder new pathways of market power, by confronting the dominant neo-liberal economic model that values property through scarcity. With in-depth analysis of empirical case studies, the author explores how law is returning to its communal utility in strengthening social ties, which will in turn restore property as social relations rather than market commodities. In a world of contested narratives about property valuing, law needs to ground its inherent regulatory relevance in the ordering of social change. This book is an essential read for students of law and regulation wanting to explore the contemporary dissent against neo-liberal market economies and the issues of communitarian governance and social resistance. It will also appeal to policy makers interested in law's failing regulatory capacity, particularly through criminalising attacks on conventional property rights, by offering insights into why law's regulatory relevance is at a cross-roads.

MeaLee Thomas shines through her poetry in a way that is unapologetic and vulnerable; she doesnt hold anything back. She tells her story like two childhood friends catching up on lost time. If you didnt know her before, you will know her after reading her poetry. -MaryCae Vignolini, Poet & Photographer

Nuclear power has been a contentious issue in Japan since the 1950s, and in the aftermath of the Fukushima nuclear power plant disaster, the conflict has only grown. Government agencies and the nuclear industry continue to push a nuclear agenda, while the mainstream media adheres to the official line that nuclear power is Japan's future. Public debate about nuclear energy is strongly discouraged. Nevertheless, antinuclear activism has swelled into one of the most popular and passionate movements in Japan, leading to a powerful wave of protest music. The Revolution Will Not Be Televised: Protest Music After Fukushima shows that music played a central role in expressing antinuclear sentiments and mobilizing political resistance in Japan. Combining musical analysis with ethnographic participation, author Noriko Manabe offers an innovative typology of the spaces central to the performance of protest music--cyberspace, demonstrations, festivals, and recordings. She argues that these four spaces encourage different modes of participation and methods of political messaging. The openness, mobile accessibility, and potential anonymity of cyberspace have allowed musicians to directly challenge the ethos of silence that permeated Japanese culture post-Fukushima. Moving from cyberspace to real space, Manabe shows how the performance and reception of music played at public demonstrations are shaped by the urban geographies of Japanese cities. While short on open public space, urban centers in Japan offer protesters a wide range of governmental and commercial spaces in which to demonstrate, with activist musicians tailoring their performances to the particular landscapes and soundscapes of each. Music festivals are a space apart from everyday life, encouraging musicians and audience members to freely engage in political expression through informative and immersive performances. Conversely, Japanese record companies and producers discourage major-label musicians from expressing political views in recordings, forcing antinuclear musicians to express dissent indirectly: through allegories, metaphors, and metonyms. The first book on Japan's antinuclear music, The Revolution Will Not Be Televised provides a compelling new perspective on the role of music in political movements.

The Sunday Times bestseller. David Bowie was arguably the most influential artist of his time, reinventing himself again and again, transforming music, style and art for over five decades. David Buckley's unique approach to unravelling the Bowie enigma, via interviews with many of the singer's closest associates, biography and academic analysis, makes this unrivalled biography a classic for Bowie fans old and new. This revised edition of Strange Fascination captures exclusive details about the tours, the making of the albums, the arguments, the split-ups, the music and, most importantly, the man himself. Also including exclusive photographic material, Strange Fascination is the most complete account of David Bowie and his impact on pop culture ever written.

LET THE MUSIC PLAY! Harnessing the Power of Music for History and Social Studies Classrooms provides readers an accessible introduction to employing music in history and social studies classrooms. Teachers who wish to develop lessons using music as a resource will find coverage of the significant relationship between music and social studies, pedagogical models designed to facilitate using music within history and social studies lessons, and coverage of salient historical themes in which music has been integral. The book begins by establishing the connection between music and social studies themes. Here readers will explore the ways musicians have attempted to address social, political or historical events and issues through song. Through relevant research and exclusive interviews done for this book, the thoughts of prominent musicians noted for songs promoting social consciousness and selfawareness - including Ian MacKaye, Henry Rollins and Aaron Bedard–are shared. The views of teachers and students in terms of the connections between music and the social studies as well as their inclinations to using music in social studies classrooms are also prominently addressed. Additionally, the book furnishes readers with a practical guide to using music in the social studies classroom. Through explanation of four models for using music in the classroom, readers gain relevant ideas useful for a wide variety of instructional methodologies. And finally, the authors delve into three of the most enduring themes in American history and social studies curricula: race, labor and class. Through an examination of these topics, within the framework of music, readers are given the opportunity to discern the way music has manifested in each of these topics. Readers will also enjoy lesson plans and annotated playlists associated with each of these topics.

Screenwriters are storytellers and dream builders. They forge new worlds and beings, bringing them to life through storylines and idiosyncratic details. Yet up until now, no one has told the story of these creative and indispensable artists. The Writers is the only comprehensive qualitative analysis of the history of writers and writing in the film, television, and streaming media industries in America. Featuring in-depth interviews with over fifty writers—including Mel Brooks, Norman Lear, Carl Reiner, and Frank Pierson—The Writers delivers a compelling, behind-the-scenes look at the role and rights of writers in Hollywood and New York over the past century. Granted unprecedented access to the archives of the Writers Guild Foundation, Miranda J. Banks also mines over 100 never-before-published oral histories with legends such as Nora Ephron and Ring Lardner Jr., whose insight and humor provide a window onto the enduring priorities, policies, and practices of the Writers Guild. With an ear for the language of storytellers, Banks deftly analyzes watershed moments in the industry: the advent of sound, World War II, the blacklist, ascension of television, the American New Wave, the rise and fall of VHS and DVD, and the boom of streaming media. The Writers spans historical and contemporary moments, and draws upon American cultural history, film and television scholarship and the passionate politics of labor and management. Published on the sixtieth anniversary of the formation of the Writers Guild of America, this book tells the story of the triumphs and struggles of these vociferous and contentious hero-makers.

This smart, “riveting” (Los Angeles Times) history of the Internet free culture movement and its larger effects on society—and the life and shocking suicide of Aaron Swartz, a founding developer of Reddit and Creative Commons—written by Slate correspondent Justin Peters “captures Swartz flawlessly” (The New York Times Book Review). Aaron Swartz was a zealous young advocate for the free exchange of information and creative content online. He committed suicide in 2013 after being indicted by the government for illegally downloading millions of academic articles from a nonprofit online database. From the age of fifteen, when Swartz, a computer prodigy, worked with Lawrence Lessig to launch Creative Commons, to his years as a fighter for copyright reform and open information, to his work leading the protests against the Stop Online Piracy Act (SOPA), to his posthumous status as a cultural icon, Swartz’s life was inextricably connected to the free culture movement. Now Justin Peters examines Swartz’s life in the context of 200 years of struggle over the control of information. In vivid, accessible prose, The Idealist situates Swartz in the context of other “data moralists” past and present, from lexicographer Noah Webster to ebook pioneer Michael Hart to NSA whistleblower Edward Snowden. In the process, the book explores the history of copyright statutes and the public domain; examines archivists’ ongoing quest to build the “library of the future”; and charts the rise of open access, the copyleft movement, and other ideologies that have come to challenge protectionist intellectual property policies. Peters also breaks down the government’s case against Swartz and explains how we reached the point where federally funded academic research came to be considered private property, and downloading that material in bulk came to be considered a federal crime. The Idealist is “an excellent survey of the intellectual property battlefield, and a sobering memorial to its most tragic victim” (The Boston Globe) and an essential look at the impact of the free culture movement on our daily lives and on generations to come.