This is the first collection of cartoons by Nick Birch from his comic Olittle life linesO. Showcasing his unique and outrageous humour, BirchOs debut features a slew of charming, quirky and disturbing characters in a random series of sarcasm, depravity, horror and delight.
Essay from the year 2009 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.2, Central Queensland University, course: Media Relations in Arts Administration, language: English, abstract: Mobile phones are a product that are easy to sell as they are intrinsic to our modern lives, however at the same time it is increasingly difficult to sell one particular handset due to the complete and utter saturation of handsets already on the market. For any kind of handset to procure a foothold, let alone a decent market share, is an enormous challenge for any manufacturer. Apple’s campaign to introduce the iPhone, which is a device that combines a mobile phone, iPod, email and internet browsing capabilities, may be the most successful marketing effort ever (Koeppel, 2007). The ongoing campaign to market the iPhone may be measured by theoretical marketing tools such as AIDA and Maslow’s model of Human Motivation to observe and understand its varying successes. The real success however, lies in Apple’s customer knowledge and manipulation of social media to allow others to do the work for them.
Essay from the year 2011 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.1, Central Queensland University, course: Advertising Design Communication, language: English, abstract: It is of no contention that the air-brushing of models in advertisements has been a central issue amongst body image advocates. Re-touching images of people has created problems for body-conscience individuals as well as advertisers although it is questionable whether the significance of the problems has yet outweighed the advantages of the practice. Part of the ethical responsibility of designers is to be aware of the effects their designs have on people, but there may be times when designers do not have a choice. Advertisers respond to the market in a supply-and-demand manner and will continue to deliver images that are successful, or more aptly recognised: as profitable. Design critic Alice Rawsthorn categorises ‘most graphic design ... as “quietly good design”, (that is, we never) really stop and look at it in the way that we might stop and look at a painting or a work of art. We absorb the messages, but only rarely take time to look at how the message has been constructed. In other words, we gulp the wine, but never look at the glass’ (Shaughnessy, 2008). It is interesting that the glass that delivers images of people in particular gains so much attention.
Essay from the year 2014 in the subject Design (Industry, Graphics, Fashion), grade: 1.1, Central Queensland University, course: Brand Image Design, language: English, abstract: All aspects of a brand image should resonate with its target audience in order to create a meaningful relationship. Before a brand can improve the lives of those who use it, the identity of both needs to be clearly understood by the other. Once this is established, a relationship can be forged and nurtured much like a relationship between two people. Like a relationship, the parties need to bond, to listen, to grow, to be authentic and to stay that way. When Interbrand (2014), the world’s largest brand consultancy, released their 2007 Brand Marketers Report, the following five top aspects of successful branding were revealed (Airey, 2007): 1. Consistency 2. Understanding of Customer/Target 3. Message/Communication 4. Creative/Design/Brand ID 5. Relevance Many other aspects were of course discovered in the survey, but the best practises may be found under these top five – the first beating the second by twice the percentage (Airey, 2007). When implemented successfully, valuable brand equity can be attained, attracting a responsive audience and relevant target customers.
Seminar paper from the year 2011 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.1, , course: Advertising Design Communication, language: English, abstract: Advertising is all about getting attention. One of the best ways of getting attention through advertising is adding humour. When employed correctly, the power of humour is undeniable. Professional Advertising (N/A) believes that ‘[t]he best ways to get attention with advertising are with strong visuals, sex, powerful headlines, and humour.’ From all the types of advertising appeals, such as Emotional, Rational, Sex, Scarcity and Humour, ‘[h]umour can be an excellent tool to catch the viewer’s attention and help in achieving instant recall which can work well for the sale of the product. Humour can be used effectively when it is related to some benefit that the customer can derive without which the joke might overpower the message’ (Ashwini, 2009). Humour is most effective when it is used to reinforce an existing message, rather than simply adding to it. Catanescu & Tom (2001) maintain that ‘[a]s previous research has revealed... [their] study shows that humour is used more frequently in television commercials than print advertisements’ and so it is with this acumen that generates the focus on television commercials. What humour achieves exactly can differ from one advertiser to the next, but its primary function seems to be about getting attention, regardless if it is good or bad attention. According to a 1993 Journal of Marketing study that examined multinational effects of humour on advertising, ‘humour is more likely to enhance recall, evaluation, and purchase intention when the humorous message coincides with ad objectives, is well-integrated with those objectives, and is viewed as appropriate for the product category. Under such circumstances, humorous advertising is more likely to secure audience attention, increase memorability, overcome sales resistance, and enhance message persuasiveness’ (Dubois, 2010).
Essay from the year 2011 in the subject Communications - Public Relations, Advertising, Marketing, Social Media, grade: 1.2, Central Queensland University, course: Creative Arts Administration, language: English, abstract: The American Marketing Association (AMA) defines a brand as a ‘name, term, sign, symbol or design’ intended to identify and differentiate them from competitors (Lake, N/A). Walter Landor, one of the greats of the advertising industry, said “simply put, a brand is a promise. By identifying and authenticating a product or service it delivers a pledge of satisfaction and quality" (Nelson, 2008). Bates (N/A) believes that the best definition is that a ‘brand is a collection of perceptions in the mind of the consumer’. This definition clearly distinguishes that a brand is very different from a product or service. A brand is intangible and exists in the mind of the consumer (Bates, N/A). Social media has turned the ways in which the brand interacts with the customer on its head. With close to 2 billion internet users worldwide, 126 million blogs, 12 billion videos viewed per month in the US alone, (Thomas, 2009), 2 billion tweets on Twitter per month and 500 million people on Facebook (Van Grove, 2010), the face of the consumer may remain essentially the same but the way in which they interact with brands has changed dramatically. It seems brands are now impacted by the creative arts, the ones more specifically known as social media sites, blogging and user-content creation leading to direct consumer participation in the modification of brand identity. The creative arts and technology have allowed the consumer to have their say heard by an audience, to rapidly share information and empowered brand-users to gain control over how a brand is perceived, their reputation, product quality control and even direction. Amidst the impact of these creative arts, brands now ignore their customers at their peril.
Thesis (M.A.) from the year 2015 in the subject Computer Science - Software, grade: 1.6, Central Queensland University, course: Arts Administration Research, language: English, abstract: Software as a Service (SaaS) is changing the way businesses operate. It’s not just a trend: it’s a proven way for small business owners to save time and money. We owe it all to the cloud for ushering SaaS into the business world. When examining the basics of running a business, a single subscription to a SaaS app could take the place of an entire department. Small businesses and start ups can have email, file storage, expenses, purchasing, human resources, collaboration and task management at a lower cost for IT and software. With access to services and software that was once only available to huge companies because of the high cost of infrastructures and maintenance, software services allow a business to cut costs and focus on their product and services instead of setting up elaborate software or delegating between departments. As a startup in the SaaS space, it is a long and perilous journey just to survive, let alone be notably successful. As the marketplaces have become quickly crowded, just finding a niche deems very difficult, let alone actively dominating one. The big players easily establish themselves, offering freemium cloud storage and software build upon already successfully proven programs. Microsoft now offers its Office suite in the cloud and Google has its slew of online business tools, all as various and competitively priced monthly subscriptions. Other startups moved in quickly at the outset, snatching up software real estate and thriving: Basecamp for project management, Freshbooks for accounting, Salesforce for customer relationship management, Pinterest for project and interest discovery, Snapchat for innovative mobile conversation, the list goes on (Vidra, 2014). So what exactly does it take to survive as a SaaS startup in today’s information age? Technological innovation, design, strong business models and customer attraction and retention all seem to be at the forefront of SaaS culture, although the difference between short and long-term success may be more elusive than any particular set of recipes for permanence.
Research Paper (postgraduate) from the year 2014 in the subject Design (Industry, Graphics, Fashion), grade: 1.15, Central Queensland University, course: Brand Image Design, language: English, abstract: There are nearly 4,000 colleges and universities in the United States and almost all of these institutions have continued to attract enough students to remain operational year after year, according to Author and Marketing guru Roger Dooley (2013). That’s about to change, and one of the key differences in who survives won’t be the academic output of the faculty or the amenities available to students. It will be a factor seemingly unrelated to the schools’ mission: branding. (Dooley, 2013) Nurko (2010) says that ‘branding is a vital tool for Universities to consider as they not only seek to attract the brightest students, but they also seek to attract and retain top academic faculty talent, become centres for research grants as well as attract investment funding and endowments to subsidize future growth’. The days when Universities were simply hallowed halls of academia around the world are gone. Today, Universities are not only academic institutes but they are commercial organisations and engines of economic growth for their communities and shareholders. Universities compete for talent at both the student level, but also for faculty personnel and investment funding. Both private and public Universities are more accountable for their balance sheets, as well as for their level of academic rigour and reputation. In a world in which academia, commerce and government overlap, the role higher education plays has never been more critical – yet, at the same time more controversial. For this reason, Universities are deploying marketing and branding strategies and tactical executions which seek to help them differentiate while also compete for potential student attention, financial investment and ultimately reputation accolades. (Nurko, 2010) The current Harvard coat of arms certainly retains some complexity, but the question becomes - is the complexity meaningful? Well, yes and no – but the fundamental design flaws do need to be addressed so that Harvard can retain some consistency across the board. Harvard University could definitely simplify its branding without compromising connections to its roots, but it is important to focus on the purposes for doing so.
Seminar paper from the year 2009 in the subject Design (Industry, Graphics, Fashion), grade: 1.9, Central Queensland University, course: Creative Industries, language: English, abstract: Technology is evolving faster than we can shake an iPod at, and like a frenetic silhouette on a primary-coloured backdrop it is difficult to see the entire picture – you are only left with a gist of what on earth is actually going on, a feeling that you want to jump up and be a part of it. Even though it helps to analyse the progress of technology in the creative fields historically, it still remains implausible to predict exactly where it will take us even in the near future. The film, television and music industries are an interesting source to start with where we may begin to understand some of the ways technology is not only enhancing the ability to create more, but also the way it affects the way business is performed.
Essay from the year 2014 in the subject Design (Industry, Graphics, Fashion), grade: 1.1, Central Queensland University, course: Brand Image Design, language: English, abstract: Aesthetics are an integral part of marketing communications, influencing the design of logos, advertising, atmospherics and package design. The strategic management of brand image design is essential to developing and implementing a corporate or brand identity. According to Simonson & Schmitt (1997), aesthetics can create tangible value for an organization because: • aesthetics creates consumer loyalty • aesthetics allows for premium pricing • aesthetics cuts through information clutter, increasing the memorability of the visual marks of the company, which in turn increases its chance of selection at the point of purchase • aesthetics affords protection from competitive attacks • aesthetics can save costs and increase productivity, as employees and outside suppliers need to spend less time in creating new layouts and messages David Garvin’s (1987) book, the Eight Dimensions of Product Quality, consists of performance, features, reliability, conformance, durability, serviceability, aesthetics and perceived quality. The concept defines aesthetics as ‘the subjective dimension indicating the kind of response a user has to a product. It represents the individual’s personal preference’ (Karch, 2008). Aesthetics management should begin with a thorough status quo analysis of every aspect of a company or brand’s visual and sensory identity. The objective of this analysis is to get a clear understanding of the identity that the organisation wants to project for itself and its brands in its aesthetic output (its corporate expressions) and how customers perceive the organisation’s current aesthetic output (customer impressions). (Simonson & Schmitt, 1997, p.45.) Brand Identity focuses on the following attributes of aesthetics, outlined by Friedlander (2012): • Colours • Fonts • Logos • Images • Layout
Essay from the year 2013 in the subject Communications - Mass Media, grade: 1.3, Central Queensland University, course: Applied Communication Arts, language: English, abstract: Governments, businesses and citizens across the world are only beginning to understand the profound implications of living in a hyper-connected world. Organisations operating across borders must recognise that the users of that information, and their governments, often have different cultural norms, values and expectations. These norms are changing as digital natives come of age and challenge old orthodoxies. Digital technologies continue to evolve, making it ever more difficult for anyone to control or regulate the manner and flow of information (World Economic Forum, 2013). According to an International Media Concentration Research Project, led by Professor Eli Noam of Columbia University, ‘Australian newspaper circulation was the most concentrated of 26 countries surveyed, and among the most concentrated in the democratic world’ (Flew, 2013). Rupert Murdoch’s News Corp Australia, the Fairfax Media and the Australian Broadcasting Corporation (ABC) are all examples of mass media communicating systems of norms and values. The first two accounted for 86% of newspaper sales in Australia in 2011, as compared to 54% for the top two newspaper owners in the United Kingdom and as low as 14% for the top two in the United States (Flew, 2013). News Corp and Fairfax have been seen to express a response to political climates according to their owners’ rather singular perspectives. Allegations of news media bias in Australia during the past several years are nothing new, in each case these players are after a different goal (Tucker, 2013).
Essay from the year 2009 in the subject Sociology - Media, Art, Music, grade: 1.1, Central Queensland University, course: Media Relations in Arts Administration, language: English, abstract: It can be quite difficult to source examples of effective crisis strategies in creative enterprise. Companies may be small, they may not have product that if defective could bring harm to the masses, inciting a recall, or even if a crisis occurred, would necessarily lead to financial ruin or impact enough jobs as to be considered newsworthy. Essentially, being portrayed negatively in the media is what is considered a ‘crisis’ rather than whatever was at fault in the first instance. This is undoubtedly due to the unpredictability of what character-revealing hue the media may taint their brush with when presented the opportunity to paint a picture of whatever business has managed the misfortune of unintentionally wandering into the spotlight. Even though being in the spotlight can be very good for business, a crisis is when a business finds itself in there for the wrong reasons. The biggest business there is in creative enterprise is of course actors. Their sheer bankability provides millions of dollars and hundreds of jobs for each movie they secure, so much can be at stake if their reputation goes down and at the wrong time. When analysing public image and crisis management strategies, the business of being one person follows the same principles of those strategies being employed by companies and corporations because they are in themselves a brand. If a celebrity does not behave accordingly when a crisis occurs, especially when it is usually their behaviour that has caused the crisis, devastating consequences can ensue. They employ publicists just as companies procure PR personnel - for the management of crises and to nudge their image in the right direction, or at times, drag it kicking and screaming. Many act on their own volition, which can be very precarious if they were a big company. But celebrities are probably the easiest for the public to forgive, as after all it is their job to entertain and a public discretion is hardly akin to a situation such as a large toy manufacturer producing their latest line of product which has just caused several child fatalities due to toxic parts. The methods they employ during scandals can be measured by textbook crisis management procedures on a smaller scale humanly while generally on a much larger scale publically.
Essay from the year 2010 in the subject Sociology - Individual, Groups, Society, grade: 1.1, Central Queensland University, course: Creative Arts Administration, language: English, abstract: Group decision-making is a process where an assembly of people convene to analyse problems or situations, evaluate alternative actions and reach solutions. Decisions may concern the judgement of a particular course of action, how best to solve a problem or the determination of the direction or magnitude of work ahead performed by teams or individuals. Deciding the best course of action can range in perplexity, depending on the effectiveness of how that group functions, the quality of alternatives that are generated, the amount of access to correct and adequate information and their understanding of the problem. Where time is of the essence and also befits the personification of money, it is customary for a business or organisation to engage in Group Decision-Making processes in the attempt to effectively and efficiently solve problems. Though some methods are more time-consuming some others. The group leader usually reserves judgement on which method is used in the Group Decision-Making process, because if one assembled a group to make a decision on what method should be used, what method would one use to decide? And so on one would ramble in an infinite loop. And if the group ever assembled without a leader, who’s idea was it for the group to assemble in the first instance? So the first advantage or disadvantage of a group decision would be how effective its leader is in managing the process, which can either be a solution in itself or it can be a problem. Though the greatest problem of all seems to be time.
Essay from the year 2013 in the subject Communications - Theories, Models, Terms and Definitions, grade: 1.3, Central Queensland University, course: Applied Communication Arts, language: English, abstract: The Knowledge Gap Theory of Communication is primarily concerned with the unequal distribution of information throughout society and the correlating access to knowledge pertaining to socioeconomic status. The Knowledge Gap Hypothesis was first proposed in 1970 by three University of Minnesota researchers: Phillip J. Tichenor, then Associate Professor of Journalism and Mass Communication, George A. Donohue, Professor of Sociology, and Clarice N. Olien, Instructor in Sociology (Yoo Ri & Southwell, N/A). The hypothesis explains that there is a resulting divide between people of lower and higher socioeconomic status ‘as the infusion of mass media information into a social system increases, higher socioeconomic-status segments tend to acquire this information faster than lower socioeconomic-status population segments so that the gap in knowledge between the two tends to increase rather than decrease’ (Tichenor, Donohue, and Olien, 1970, p159-160). The resulting speed at which people are able to access tradition mass-media compared to modern systems may be surprisingly congruent when underlying education is taken into consideration.
Essay from the year 2014 in the subject Business economics - Company formation, Business Plans, grade: 1.6, Central Queensland University, course: Cultural Entrepreneurship, language: English, abstract: For generations, Zen philosophy has taught the importance of finding tranquillity inside yourself instead of foolishly seeking it in the world around you. One of the most profound teachings from this philosophy, and probably one that is most relevant to the entrepreneur, is that of ignoring doctrine and listening to your gut instinct. (Butt, 2014a) Google (N/A) defines entrepreneur as ‘a person who organizes and operates a business or businesses, taking on greater than normal financial risks in order to do so’, from the French ‘entreprendre’, meaning to ‘undertake’ and ‘go between’. Branagan (2003) outlines several critical success factors: • being able to make connections and spot opportunity • taking a creative approach to problem solving • being able to cultivate networks of appropriate contacts • being able to persuade, inspire and motivate others through enhanced vision • the ability to take calculated risks and having the nerve to work outside convention • the ability to overcome rejection and failure • keeping pace with technology and innovation • an understanding of business strategies and tactics It is the spirit of undertaking something novel and innovative; in some sense either pushing forward with avant-garde activities, or combining elements from previous concepts for new markets or audiences. There are many entrepreneurs within the arts world who do just this, acting as go-betweens for artists and clients, or audiences. Furthermore, the common preoccupation with originality, implementing ideas and making progress, held by many artists and arts consultants, is itself an entrepreneurial trait; translating vision into a creative act. From a contemporary and historical perspective, an entrepreneurial outlook has either inadvertently or intentionally ensured the successful progression of many very influential figures within both the commercial and non-commercial arts sectors. (Branagan, 2003)
Nick Baer travels to Orange County to meet up with actor/model, and MTV Next! and Parental Control star Deagan Birch. Starting out with a walk along the beach, they go back to his hotel room for intimate photos of his fit and trim body, and shower. Full frontal male nudity, color, 42 pages.This is a one of a kind male nude portfolio photo booklet, available exclusively here on Amazon.com. The live video DVD of Deagan's At The Beach photo shoot is also available here on Amazon.com, use keyword search "Nick Baer".
The new full colour Rough Guide to California is the definitive guide to the most alluring state in the US. It's full of insider tips on how to unearth the best that the Golden State has to offer: authentic Mexican food in San Francisco, Los Angeles and San Diego; countless hiking trails and ski areas in the towering Sierra Nevada range; road trips on Historic Route 66 and the stunning Pacific Coast Highway; tastings in the best California wineries and camping in the pristine state and national parks. Smartly designed with stunning photography and packed with some of the most easy-to-use maps you'll find in any guidebook, the Rough Guide to California contains fun and adventurous itineraries, savvy lists of hotspots and heaps of recommendations and detailed practical information to help you take advantage of everything this nearly 900-mile-long state has to offer. Whatever your budget, this guide will help you explore California's bounty of natural and cultural wonders, find top-notch places to eat and sleep and make the most of every minute of your holiday. Make the most of your time with The Rough Guide to California. Now available in ePub format.
**INDEPENDENT BOOK OF THE MONTH** **GUARDIAN BOOK OF THE DAY** **FINANCIAL TIMES 'BEST SUMMER BOOKS 2022' PICK** 'Incredibly moving.' - Guardian 'Entertaining.' - Telegraph 'Most books about pop stars focus on the way we turn average human beings into demi-gods. In writing a book about how they have to turn back into humans Nick Duerden has done both us and them a service.' - David Hepworth 'Funny, poignant and often inspirational.' - Mat Osman The desire for adulation is a light that never goes out. We live in a culture obsessed by the notion of fame - the heedless pursuit of it; the almost obligatory subsequent fallout. But what's it like to actually achieve it, and what happens when fame abruptly passes, and shifts, as it does, onto someone else? This is the point at which pop stars are at their most heroic, because they don't give up. They keep on striving, keep making music, and refuse simply to ebb away. Some sustain themselves on the nostalgia circuit, others continue to beaver away in the studio, no longer Abbey Road, perhaps, so much as the garden shed. But all of them, in their own individual ways, still dare to dream. Exit Stage Left features tales of drug addiction, bankruptcy, depression and divorce, but also of optimism, a genuine love of the craft, humility and hope. This is a candid, laugh-out-loud and occasionally shocking look at what happens when the brightest stars fall back down to earth. 'Exit Stage Left is the book I've long wanted to read about the PTSD-like after-effects of pop stardom - and Nick Duerden is the perfect writer for the job. The pop star's bittersweet lot is represented with flair and empathy.' - Pete Paphides, author of Broken Greek 'Exit Stage Left is a funny and poignant book, drawing on Duerden's considerable experience as a journalist and interviewer . . . he understands what motivates this strange bunch of people.' - Andy Miller, Spectator 'Fame is the brightest candle, but in this brilliant collection of interviews, Nick Duerden answers the question: what does a candle do after it's burned out?' - David Quantick 'Duerden finds fascinating layers of humanity, pathos, humour and wisdom in equal measure. A brilliant book, for artists and fans alike.' - Frank Turner Featuring brand new interviews with the likes of: Bob Geldof, Shaun Ryder, Robbie Williams, Roisin Murphy, Stewart Copeland, Billy Bragg, Wendy James, Alex Kapranos, Joan Armatrading, Leo Sayer, Gary Lightbody, Lisa Maffia, Tim Booth, Bill Drummond, Rufus Wainwright, David Gray, and Justin Hawkins.
It's not the usual boring history read. It's a fast-paced, easy to read, behind the scenes look at the making of Iowa and Illinois focusing on Eastern Iowa and Western Illinois.
The battle of Loos was one of the most hard-fought battles that the British Expeditionary Force waged during the First World War. This work presents an interpretation of Loos, placing it not only within its political and strategic context, but also discussing command and control and the tactical realities of war on the Western Front during 1915.
This publication sets out a comprehensive review of tree root biology and covers a broad range of practical issues that need to be considered in order to grow trees successfully in our towns and cities and to realise the significant benefits they provide in built environments. Topics covered include: soil condition and roots; improving tree root growth in urban soils; water supply and drought amelioration for amenity trees; coping with soil contamination; protecting trees during excavation and good trenching practice; control of damage to tree roots on construction sites; tree root damage to buildings and pavements, sewers, drains and pipes; research needs and sustainability issues.
Suitable for parents and children, this book talks about walks and includes directions (for parents) with instructions on where to point out interesting things that will interest young walkers. It features a text of interest to children and includes check-lists for each walk, for the child to tick off landmarks and objects encountered on the way.
The McCarthy-era witch hunts marked the culmination of an anticommunist crusade launched after the First World War. With Bolshevism triumphant in Russia and public discontent shaking the United States, conservatives at every level of government and business created a network dedicated to sweeping away the "spider web" of radicalism they saw threatening the nation. In this groundbreaking study, Nick Fischer shines a light on right-wing activities during the interwar period. Conservatives, eager to dispel communism's appeal to the working class, railed against a supposed Soviet-directed conspiracy composed of socialists, trade unions, peace and civil liberties groups, feminists, liberals, aliens, and Jews. Their rhetoric and power made for devastating weapons in their systematic war for control of the country against progressive causes. But, as Fischer shows, the term spider web far more accurately described the anticommunist movement than it did the makeup and operations of international communism. Fischer details how anticommunist myths and propaganda influenced mainstream politics in America, and how its ongoing efforts paved the way for the McCarthyite Fifties--and augured the conservative backlash that would one day transform American politics.
This is a must read book for all those who love America and want it to be healed.' -- Justin Webb, presenter of the BBC's Today programme and Americast 'Unflinching and insightful.' -- Lyse Doucet, the BBC's Chief International Correspondent 'A perceptive look at America's unresolved history.' -- Kirkus Reviews 'Extraordinary...it's enlarged my understanding of America.' -- Nihal Arthanayake, BBC Radio 5 Live From the author of When America Stopped Being Great, an insightful and urgent reassessment of America's past, present and future – as a country which is forever at war with itself. The Forever War tells the story of how America's extreme polarization is 250 years in the making, and argues that the roots of its modern-day malaise are to be found in its troubled and unresolved past. As we approach the 250th anniversary of the Declaration of Independence, the American experiment is failing. Division, mistrust and misinformation are now the country's defining characteristics. The storming of the Capitol, the prosecution of Donald Trump and battles over gun rights and abortion raise the spectre of further political violence. Nick Bryant explains how the hate, divisiveness and paranoia we see today are in fact a core part of America's story. Combining brilliant storytelling, historical research and first-hand reportage, Bryant argues that insurrections, massacres and civil disturbances should sadly not be seen as abnormalities; they are a part of the fabric of the history of America.
This book uses humour and personal insight to weave tales, analysis, and history in this insider account of an enlightened populist student movement. The students involved took their citizenship seriously by asking the authorities who they were benefiting and who they were ignoring. They altered the prevailing culture by asking, “why not do something different”? Unlike other books on the Sixties, this book shows how predominantly working middle-class white students in a very conservative region initiated radical changes. They ushered in a new era of protecting women and minorities from discriminatory practices. This vivid account of bringing conservative students around to support social justice projects illustrates how step-by-step democratic change results in reshaping a nation’s character. Across the globe, students are seeking change. In the US, over 80 percent believe they have the power to change the country, and 60 percent think they’re part of that movement. This book’s portrayal of such efforts in the Sixties will inspire and guide those students.
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