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Albisola Superiore Hotel
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Where to stay in Albisola Superiore
What's Albisola Superiore like?
If you're looking for a place to get away, look no further than Albisola Superiore. Whether you're planning to stay for a night or for the week, the area around Albisola Superiore has accommodations to fit every need. Search for hotels in Albisola Superiore with Hotels.com by checking our online map. Our map displays the areas and neighborhoods around all Albisola Superiore hotels so you can see how close you are from landmarks and attractions, and then refine your search within the larger area. The best Albisola Superiore hotel deals are here with our lowest price guarantee.
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We have 9 Albisola Superiore accommodations with prices starting at INR 1539. Choose one of our 1943 deals and get discounts of up to 30%.
Below are the number of accommodations by star rating in Albisola Superiore and the surrounding area:
- • 2 5-star accommodations from INR 10607 per night
- • 40 4-star accommodations from INR 4469 per night
- • 150 3-star accommodations from INR 3591 per night
- • 75 2-star accommodations from INR 3134 per night
- • 54 1-star accommodations from INR 2198 per night
How to Get to Albisola Superiore
What is the closest airport to Albisola Superiore?
- • Genoa (GOA-Cristoforo Colombo), 19.1 mi (30.7 km) from central Albisola Superiore
Things to See and Do in Albisola Superiore
What is there to see near Albisola Superiore:
- • Spiaggia libera attrezzata (3.1 mi/5 km from the city center)
- • Santuario di Nostra Signora della Misericordia (2.2 mi/3.5 km from the city center)
- • Faraggiana Villa (2.7 mi/4.3 km from the city center)
- • Cappella Sistina di Savona (3.8 mi/6.1 km from the city center)
- • Palazzo Della Rovere (3.8 mi/6.2 km from the city center)
What is there to do near Albisola Superiore:
- • Le Officine (4.4 mi/7.1 km from the city center)
- • Civic Art Gallery (6.3 mi/10.1 km from the city center)
- • Altare Glass Museum (6.6 mi/10.7 km from the city center)
- • St. Anna Golf Club (8.4 mi/13.5 km from the city center)
When is the best time to visit Albisola Superiore?
- • Hottest months: July, August, June, September (average 79°F)
- • Coldest months: January, December, February, March (average 42°F)
- • Rainiest months: October, November, December, and September (average 6.08 inches of rainfall)


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John McKone posted a discussion
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Dragon and Phoenix Cake Tutorial – Introduction
This is the introduction of our Dragon and Phoenix Cake tutorial at Yeners Way Cake Art Tutorials. The full tutorial is available at the following link: http://www.yenersway.com/tutorials/celebration-cakes/dragon-and-phoenix-cake/
Learn how to decorate a cake with an oriental style dragon and phoenix from modelling chocolate, as well as a Chinese Double Happiness symbol topper.
Music: The Voyage by Audionautix is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/)
Artist: http://audionautix.com/
Originally posted 2015-09-29 19:36:53.


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For the privacy and security conscious out there, I just found this site [https://www.privacytools.io/] and it looks pretty interesting.
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The Eliasson sunglasses feature the PORTRAIT's new aviator, with a "rounder" silhouette and a easy wearability. They were inspired by a pilot who faces the sun, the same that Olafur Eliasson brilliantly represented in the powerful art installation "The Weather Project" based at the Tate Museum in London.
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If you do a web search for "mortgage rates" you'll likely see a list of interest rates from a variety of different banks and lenders. Unfortunately, this won't tell you.
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It was a mixed week for mortgage rates this week, according to Freddie Mac. The average offered rate for a 30-year fixed-rate mortgage rose by two basis points (0.02%), edging higher to 4.08% for the week.
The FOMC Decision: A NGDP Perspective – For example, households may take out a 30-year mortgage based on an implicit. Here is one I created: Here it is a market interest rate, the first term measures the gap between the forecasted.
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A table of today's mortgage interest rates, plus tips on how to get the best rate and a breakdown of the seven things lenders evaluate when determining rates.
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Listing courtesy of SANDAR WEST from RE/MAX INNOVATIONS
Based on information from California Regional Multiple Listing Service, Inc. as of . This information is for your personal, non-commercial use and may not be used for any purpose other than to identify prospective properties you may be interested in purchasing. Display of MLS data is usually deemed reliable but is NOT guaranteed accurate by the MLS. Buyers are responsible for verifying the accuracy of all information and should investigate the data themselves or retain appropriate professionals. Information from sources other than the Listing Agent may have been included in the MLS data. Unless otherwise specified in writing, Broker/Agent has not and will not verify any information obtained from other sources. The Broker/Agent providing the information contained herein may or may not have been the Listing and/or Selling Agent.


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Rocker Switch Wiring Diagram On 3 Prong Lighted Toggle Switch Wiring
Rocker Switch Wiring Diagram On 3 Prong Lighted Toggle Switch Wiring
17/08/2015 · An illuminated rocker switch is like a SPST toggle switch with an extra terminal which allows the light to work. You might want to review the article on toggle switch wiring before proceeding. Also relays can be used to switch higher draw accessories to reduce switch load and voltage drop.
27/09/2017 · 12v Car Help: How to wire a 3-prong led rocker switch. ALL RIGHTS GO TO THE OWNER OF THE LAST DIAGRAM PICTURE USED IN VIDEO.
Rocker Switch Wiring Diagram. Now that you have an idea how rocker switches are constructed internally, let's go over the wiring diagram, so that you will now how to connect a rocker switch to a circuit. As shown below, rocker switches have 3 electrical connections. The diagram below represents the schematic diagram for a SPST rocker switch:
06/03/2010 · I bought a 3-prong spst illuminated switch at radioshack, it's rated for 10A @125VAC. Prong #3 is "gold" (copper). The diagram on the packaging indicates prong 1 is for ac in and that prong 3 is for neutral, also indicating that prongs 1 and 2 are connected by the switch and that the lamp is between prongs 2 and 3 and that prong 3 is also tied ...
The wiring diagram below will demonstrate how to to wire and power this 12V 20AMP (ON)-ON-OFF 3 way Carling Contura rocker switch. This rocker is perfect for an engine OFF/RUN/START switch. It is OFF at the bottom, ON in the center, and Momentary (ON) at the top.
A lighted rocker switch provides simple on/off operation of electrical circuits, with the added bonus of a light in the switch that lets you know when the circuit is closed. They're often used by car audio and customization enthusiasts as a way to control equipment like lights, fans and amplifiers, while adding a bit of style to the installation.
Wiring an Illuminated Rocker Switch? - I've done a search already, but found answers for different applications. Anyways, I've installed some fog lights on my car, it comes with its own switch (3 position). I bought some illuminated 2 position rocker switches to turn the fog lights o
12/06/2018 · On / Off / On (A 3 position switch. No LED) Scion OEM style rocker switch wiring diagram. This switch also has a built-in LED that lights up when it's in the on position, so if you've purchased one of these, below is a wiring diagram showing how you would go about wiring this particular rocker light switch, remember to pay careful attention ...
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3 6 LOAD 2 STANDARD SWITCH WIRING DIAGRAMS Carling Technologies Inc. Contact Terminal will make contact with switching lever Isolated Terminal does not make contact with switching lever Contact Terminal & Switch Lever Bulb Notes: 1. with NBL Bracket Only 2. with Independent Lamp Circuit Only 3. with Lighting Sequences 10, 20, 30, 40,50 Only


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Vol. 33
No. 3
August 1999
SUBCULTURES OR NEO-TRIBES? RETHINKING THE RELATIONSHIP BETWEEN YOUTH, STYLE AND MUSICAL TASTEANDY BENNETTAbstract Despite the criticisms of subcultural theory as a framework for the sociological study of the relationship between youth, music, style and identity, the term subculture continues to be widely used in such work. It is a central contention of this article that, as with subcultural theory, the concept of subculture is unworkable as an objective analytical tool in sociological work on youth, music and style that the musical tastes and stylistic preferences of youth, rather than being tied to issues of social class, as subculture maintains, are in fact examples of the late modern lifestyles in which notions of identity are constructed rather than given, and uid rather than xed. Such uidity, I maintain, is also a characteristic of the forms of collective association which are built around musical and stylistic preference. Using Maffesolis concept of tribus (tribes) and applying this to an empirical study of the contemporary dance music in Britain, I argue that the musical and stylistic sensibilities exhibited by the young people involved in the dance music scene are clear examples of a form of late modern sociality rather than a xed subcultural group. Key words: lifestyle, neo-tribalism, style, subculture, urban dance music, youth.
During the 1970s and early 1980s, sociological explanations of the relationship between youth, style and musical taste relied heavily upon the subcultural theory developed by the Birmingham Centre for Contemporary Cultural Studies (CCCS). In more recent years there has been increasing criticism of the CCCS approach from theorists who have argued, among other things, that the Centres use of structuralist accounts to explain what are in effect examples of consumer autonomy and creativity results in a number of problems. Interestingly, however, the term subculture survives in such counteranalytical discourse. Indeed, such is the variety of analytical perspectives in which subculture is now used as a theoretical underpinning, that it has arguably become little more than a convenient catch-all term for any aspect of social life in which young people, style and music intersect. In this article I want to examine some of the problems which can be identied with the concept of subculture and to argue that an alternative theoretical framework needs to be developed which allows for the pluralistic and shifting sensibilities of style that have increasingly characterised youth culture since the post-Second World War period. Drawing upon Maffesolis (1996) concept of tribus (tribes), I will argue that
those groupings which have traditionally been theorised as coherent subcultures are better understood as a series of temporal gatherings characterised by uid boundaries and oating memberships. This argument will be supported with empirical evidence drawn from an ethnographic study of the urban dance music scene in Newcastle upon Tyne in north-east England. The term urban dance music refers to contemporary forms of DJ (disc-jockey) orientated music, such as house and techno (see Redhead 1993a), which, since the late 1980s have broadened the sphere of dance music culture considerably, removing its disco and mainstream connotations and elevating it to the status of a serious music in which debates concerning issues of authenticity (Thornton 1995) are comparable with those which characterised the progressive rock and punk scenes of the 1970s (see Frith 1983; Laing 1985). It will be my contention that the musical and visual style mixing observed at urban dance music events exemplies the essential eclecticism of post-war youth culture and thus forces a revision of our understanding of the way in which young people have characteristically perceived the relationship between style, musical taste and collective association.
The Birmingham CCCS As in the United States, early British studies of youth focused on the connection between the deviant sensibilities of youth gangs and the localities from which such gangs emerged. Thus, for example, in a study of juvenile delinquency in Liverpool, Mays (1954) echoed Whytes (1943) synopsis of the Cornerville gangs in Chicago by suggesting that such delinquency was part of a local tradition as young males received and put into practice the deviant norms which were a part of everyday life in many underprivileged neighbourhoods of Liverpool. With the publication of the CCCS research, British studies of youth culture began to change in two signicant ways. First, emphasis moved away from the study of youth gangs and towards style-based youth cultures, such as Teddy boys, mods, rockers and skinheads, which from the 1950s onwards rapidly became an integral feature of everyday British social life. Secondly, in keeping with the central hypothesis of the CCCS, the local focus of earlier youth studies was abandoned in favour of a subcultural model of explanation. Using the original Chicago School premise that subcultures provide the key to an understanding of deviance as normal behaviour in the face of particular social circumstances, Resistance Through Rituals (1976), the centrepiece of the CCCS research, re-worked this idea as a way of accounting for the style-centred youth cultures of post-war Britain. According to the CCCS, the deviant behaviour of such youth cultures or subcultures had to be understood as the collective reaction of youth themselves, or rather working-class youth, to structural changes taking place in British post-war society.
The notion of subcultures as a response to structural changes was adopted from an earlier CCCS working paper, Cohens Subcultural Conict and Working Class Community (1972). According to Cohen, youth subcultures were to be understood in terms of their facilitating a collective response to the break up of traditional working-class communities as a result of urban redevelopment during the 1950s and the re-location of families to new towns and modern housing estates. Thus argues Cohen (1972:23): the latent function of subculture is this to express and resolve, albeit magically, the contradictions which remain hidden and unresolved in the parent culture [by attempting] to retrieve some of the socially cohesive elements destroyed in [the] parent culture. Cohens concept of magical recovery is developed in Resistance Through Rituals but is posited as purely one of a number of themes around which subcultural responses are constructed. Subcultures are seen to form part of an on-going working-class struggle against the socio-economic circumstances of their existence and, as such, subcultural resistance is conceptualised in a number of different ways. John Clarkes study of skinhead culture echoes Cohens view in arguing that the skinhead style represents an attempt to re-create through the mob the traditional working class community as a substitution for the real decline of the latter (Clarke 1976:99). Jeffersons examination of the Teddy boy style argues that the latter reected the Teds all-dressed-up-and-nowhere-to-go experience of Saturday evening (Jefferson: 1976:48). The relative afuence of the Teddy boys allowed them to buy into a middle-class image the Edwardian suit revived by Saville Row tailors in 1950 and originally intended for a middle-class market. Jefferson argues, that the Teddy boys dress represented a symbolic way of expressing and negotiating with their symbolic reality; of giving cultural meaning to their social plight (Jefferson 1976:86). Similarly, Hebdige claims that the mod style was a reaction to the mundane predictability of the working week and that the mod attempted to compensate for this by exercising complete domination over his private estate his appearance and choice of leisure pursuits (Hebdige 1976:91).
Criticisms of the CCCS The CCCS approach generates a number of problems, the rst and perhaps most crucial of which is the resulting emphasis upon the role of massproduced consumer items, such as popular music and visual style, in the articulation of forms of working-class resistance. Certainly, the contention that working-class youth were at the centre of the new style-orientated postwar youth culture is difcult to dispute. During the post-war period workingclass youth were the social group with the largest amounts of disposable income and thus the rst specically targeted and differentiated consumers (Bocock 1993:22). By contrast, middle-class teenagers were at this time still
constrained in their spending (Benson 1994:165). More questionable, however, is the CCCSs contention that such styles were uniformly used by working-class youth in a strategy designed to resist the structural changes taking place around them. This is because such a contention rests on the rather tentative notion that, having gained an element of freedom to pick and choose between an increasing range of consumer items, working-class youth was somehow driven back to the fact of class as a way of articulating its attachment to such commodities. It could rather be argued that post-war consumerism offered young people the opportunity to break away from their traditional class-based identities, the increased spending power of the young facilitating and encouraging experimentation with new, self-constructed forms of identity. This view is supported by Chambers who argues that: In contrast to the anonymous drudgery of the working week, selected consumer objects provide the possibility of moving beyond the colourless walls of routine into the bright environs of an imaginary state (1985:17). Similarly Miles, in considering the CCCSs equation of consumption with resistance, argues that such an approach concentrate[s] on symbolic aspects of sub-cultural consumption at the expense of the actual meanings that young consumers have for the goods that they consume (1995:35). The problems inherent in the CCCS work become increasingly evident with the attempt to include later stylistic innovations, which were clearly not instigated purely by working-class youth, into the resistance thesis. This point is convincingly made by Gary Clarke in his critique of Hebdiges (1979) analysis of punk which is characterised, according to Clarke, by a distinct air of contradiction between its metropolitan centeredness [sic] and the emphasis on working class creativity (Clarke 1981:86). Clarke suggests that most of the punk creations which are discussed [by Hebdige] were developed among the art-school avant-garde, rather than emanating from the dance halls and housing estates (1981:86). Clearly, it is possible to argue that, as punk styles became more accessible as consumer items, certain working-class followers of punk did in fact articulate their allegiance to this style in terms of a response to the perceived contradictions of working-class life. Such a usage, however, must be read, as must the range of other possible meanings which the punk style assumed for those who appropriated it, as the active decision of individuals rather than the inuence of structural conditions. A further criticism of the CCCS has focused on the Centres lack of concern with the relationship of girls and young women to youth subcultures. McRobbie and Garber, while conceding the relative absence of girls in subcultural groupings, argue that such absence can be attributed to the stricter parental control and regulation of girls leisure time. It is further argued that, because of this, girls nd alternative strategies of that of the boys sub-cultures and that a Teeny Bopper culture is constructed around the territory available to girls, the home and the bedroom (1976:219). McRobbie attributes the failure of subcultural theory to acknowledge this
home-centred teeny bopper culture to the selective bias of the researchers themselves. Thus, she argues (1980:689):while the sociologies of deviance and youth were blooming in the early seventies the sociology of the family was everybodys least favourite option . . . few writers seemed interested in what happened when a mod went home after a week-end on speed. Only what happened out there on the streets mattered.
In later work dealing with fashion and dance, McRobbie (1984, 1994) provides further illustrations of how female involvement in youth culture has been largely overlooked. Indeed, according to McRobbie, through fashion and dance the ability of girls and young women to use style as a form of resistance has often been much more pronounced than male expressions of style-based resistance. Using the example of US beat culture during the 1950s, McRobbie suggests that female beats appropriation of second-hand middle-class fashions from the 1930s and 1940s issued a strong sexual challenge to the spick and span gingham-clad domesticity of the moment (1994:143). Similarly, referring to the sexual politics of dance, McRobbie argues that the act of dancing carries enormously pleasurable qualities for girls and women which frequently seem to suggest a displaced, shared and nebulous eroticism rather than a straightforwardly romantic, heavily heterosexual goal-oriented drive (1984:134). The Concept of SubcultureAuthentic subcultures were produced by subcultural theorists, not the other way around. In fact, popular music and deviant youth styles never tted together as harmoniously as some subcultural theory proclaimed. Redhead 1990:25
While the essential tenets of the CCCS subcultural theory have been variously criticised and largely abandoned, the concept of subculture survives as a centrally dening discursive trope in much sociological work on the relationship between youth, music and style. In my view, however, the term subculture is also deeply problematic in that it imposes rigid lines of division over forms of sociation which may, in effect, be rather more eeting, and in many cases arbitrary, than the concept of subculture, with its connotations of coherency and solidarity, allows for. Pondering a similar point, Fine and Kleinman argue that the attempt to reify a construct such as subculture as a corpus of knowledge may be heuristically valuable, until one begins to give this corpus physical properties (1979:6). Likewise, Jenkins suggests that the concept of subculture tends to exclude from consideration the large area of commonality between subcultures, however dened, and implies a determinate and often deviant relationship to a national dominant culture (1983:41). In this respect, Jenkinss argument has much in common with
McRobbies (1984) observation concerning the absence of any discussion of the shifting behaviour patterns of members of subcultural groups as they move between subcultural setting and family home. However, while McRobbie suggests that such omissions from subcultural studies were the product of male sociologists lack of interest in the home and family environments of subculture members, it is equally possible to argue, in line with Jenkinss (1983) observation, that these omissions also conveniently paper over the cracks in the CCCSs attempts to depict subcultures as tight, coherent social groups. Indeed, at one point in Resistance Through Rituals, John Clarke et al. come very close to admitting such a point when they suggest that although sub-cultures are important . . . they may be less signicant than what young people do most of the time (1976:16). As previously noted, despite the problems which can be associated with subculture the term continues to be widely used. At the same time, however, subcultures continuing currency as a grounding theoretical base deepens the questioning of the terms sociological validity as it is applied in increasingly contradictory ways. In Reconstructing Pop/Subculture, Cagle (1995) takes issue with the Marxist interpretation of youth subcultures employed by the CCCS in view of its conceptualisation of subculture as existing outside the mainstream. According to Cagle, youth groups discounted by the CCCS, for example, glitter rock fans, could also be counted as subcultures despite their mainstream tastes in music and style. In certain respects Cagle has a very good point in that the CCCS did indeed discard a great deal of music and style-centred youth activity, which, in addition to glitter rock, also included Rollermania and heavy metal, presumably on the grounds that its mainstream centredness somehow removed its potential for counter-hegemonic action which the Centre so readily associated with mods, skinheads and punks, etc. However, while Cagle is right to criticise the CCCS on these grounds, at the same time his approach has considerable implications for the term subculture in that it is left meaning everything and nothing. Thus, if we are to accept that there are both mainstream and non-mainstream subcultures, what are the differences between them, and how do we go about determining such differences? Thorntons (1995) solution to the mainstream/non-mainstream debate and its bearing upon notions of subcultural authenticity is to introduce the issue of media representation. According to Thornton, authentic subcultures are largely constructed by the media, members of subcultures acquiring a sense of themselves and their relation to the rest of society from the way they are represented in the media. Again, Thornton identies a very important shortcoming in the CCCS conceptualisation of subculture. Given the centrality of the media in all institutions of late modern social life, there can be little questioning of Thorntons contention that: subcultures do not germinate from a seed and grow by force of their own energy into mysterious movements only to be belatedly digested by the media (1995:117). It seems to
me, however, that Thorntons work raises a much more fundamental point in relation to subculture and its validity as an objective sociological concept. Thus, if subculture has acquired a plurality of meaning in sociological discourse, the medias borrowing of the term has increased the problem of denition. In introducing the term subculture into the wider public sphere, the media have completed the process begun in sociological work of reducing subculture to a convenient catch-all term used to describe a range of disparate collective practices whose only obvious relation is that they all involve young people.
Neo-Tribes: An Alternative Theoretical Model for the Study of Youth In critically evaluating subculture as a valid framework for the sociological study of youth, music and style, I have identied two main issues. First, there is a problem of objectivity as subculture is used in increasingly contradictory ways by sociological theorists. Secondly, given that in studies which use subculture in relation to youth, music and style there is a grounding belief that subcultures are subsets of society, or cultures within cultures, such a concept imposes lines of division and social categories which are very difcult to verify in empirical terms. Indeed, at the most fundamental level, there is very little evidence to suggest that even the most committed groups of youth stylists are in any way as coherent or xed as the term subculture implies. On the contrary, it seems to me that so-called youth subcultures are prime examples of the unstable and shifting cultural afliations which characterise late modern consumer-based societies. Shields writes of a postmodern persona which moves between a succession of site-specic gatherings and whose multiple identications form a dramatic personae a self which can no longer be simplistically theorized as unied (1992a:16). From this point of view the group is no longer a central focus for the individual but rather one of a series of foci or sites within which the individual can live out a selected, temporal role or identity before relocating to an alternative site and assuming a different identity. It follows then, that the term group can also no longer be regarded as having a necessarily permanent or tangible quality, the characteristics, visibility and lifespan of a group being wholly dependent upon the particular forms of interaction which it is used to stage. Clearly, there is a considerable amount of difference between this denition of a group and that which pregures subcultural theory. Indeed, the term group as it is referred to here is much closer to Maffesolis concept of tribus or tribes. According to Maffesoli the tribe is without the rigidity of the forms of organization with which we are familiar, it refers more to a certain ambience, a state of mind, and is preferably to be expressed through lifestyles that favour appearance and form (1996:98).
Underpinning Maffesolis concept of tribes is a concern to illustrate the shifting nature of collective associations between individuals as societies become increasingly consumer orientated (1996:978). Thus as Hetherington, in discussing Maffesolis work, points out, tribalisation involves the deregulation through modernization and individualization of the modern forms of solidarity and identity based on class occupation, locality and gender . . . and the recomposition into tribal identities and forms of sociation (1992:93). Shields, in a further evaluation of Maffesolis work, suggests that tribal identities serve to illustrate the temporal nature of collective identities in modern consumer society as individuals continually move between different sites of collective expression and reconstruct themselves accordingly. Thus, argues Shields: Personas are unfurled and mutually adjusted. The performative orientation toward the Other in these sites of social centrality and sociality draws people together one by one. Tribelike but temporary groups and circles condense out of the homogeneity of the mass (1992b:108). There is some disagreement between Shields and Hetherington as to how the concept of tribalism can most effectively be used. In his foreword to the English translation of Maffesolis study The Time of the Tribes, Shields argues that tribus are best understood as postmodern tribes or even pseudo-tribes (Maffesoli 1996:x). Hetherington (1992), however, prefers the term neo-tribes. For the purpose of this article, I too refer to tribus as neo-tribes, as this seems to me to most accurately describe the social processes with which Maffesoli was concerned. Interestingly, in Maffesolis view neo-tribes are a very recent social phenomenon. Indeed, there is a distinctly postmodernist edge to Maffesolis then and now comparisons between the 1970s and the tribalised 1990s. Thus in describing the nature of neo-tribal society, Maffesoli (1996:76) observes that:This affectual nebula leads us to understand the precise forms which sociality takes today: the wandering mass-tribes. Indeed, in contrast to the 1970s with its strengths such as the Californian counterculture and the European student communes it is less a question of belonging to a gang, a family or a community than of switching from one group to another.
It seems curious that Maffesoli should place the development of neo-tribalism beyond the late 1960s and early 1970s, a period when conspicuous consumption became synonymous with everyday life in the West. Moreover, Maffesolis reference to the counter-culture as a stable, coherent cultural entity seems oddly out of place given the loose afliation of political, aesthetic and stylistic interests which found a fragile and temporal unity under the counter-cultural banner. Indeed, as Clecak suggests, counter-culture was, in effect, an umbrella term which enabled a wide range of different groups, including college students, musicians, mystics, environmentalists, the humanpotential movement, peace and anti-war movements to nd symbolic shapes
for their social and spiritual discontents and hopes (Clecak 1983:18). Moreover, much of the counter-cultures oppositional stance hinged on forms of expression articulated through commercially available products, such as music and style, themselves a result of the youth market which had been steadily growing in prominence since the 1950s. In my view then, the process of tribalism identied by Maffesoli is tied inherently to the origins of mass consumerism during the immediate post-Second World War period and has been gathering momentum ever since. That it should become acutely manifest in the closing years of the twentieth century has rather more to do with the sheer range of consumer choices which now exist than with the onset of a postmodernist age and attendant postmodern sensibilities.
Lifestyles In reconsidering issues of social identity and forms of collective expression within the framework of neo-tribes, the related concept of lifestyle provides a useful basis for a revised understanding of how individual identities are constructed and lived out. Lifestyle describes the sensibilities employed by the individual in choosing certain commodities and patterns of consumption and in articulating these cultural resources as modes of personal expression (Chaney 1994, 1996). In this way, a lifestyle is a freely chosen game and should not be confused with a way of life, the latter being typically associated with a more-or-less stable community (Kellner 1992:158; Chaney 1994:92). Certainly, there are numerous instances of lifestyles which are intended to reect more traditional ways of life, notably in relation to class background. For example, British pop group Oasis and their fans promote an image, consisting of training shoes, football shirts and duffel coats, which is designed to illustrate their collective sense of working classness. Therein, however, lies the essential difference between the concept of lifestyle and structuralist interpretations of social life in that the former regards individuals as active consumers whose choice reects a self-constructed notion of identity while the latter supposes individuals to be locked into particular ways of being which are determined by the conditions of class. Moreover, in positing experimentation as a central characteristic of late modern identities, the concept of lifestyle allows for the fact that individuals will also often select lifestyles which are in no way indicative of a specic class background. A tting example of this is the chosen lifestyle of the New Age Traveller which brings together young people from a range of social backgrounds who share an identication with nomadism that is seen to be more authentic than the sociality of modern industrial societies (Hetherington 1998:335). All of this is not to suggest that lifestyle abandons any consideration of structural issues. Rather, lifestyle allows for the fact that consumerism offers the individual new ways of negotiating such issues. Thus, as Chaney observes,
the indiscriminate egalitarianism of mass culture does not necessarily reproduce the structured oppressions of previous social order. Or rather . . . these oppressions can more easily be subverted by the very diversity of lifestyle made possible via the appropriation of selected commodities and participation in chosen patterns of consumption (1994:81). A similar point is made by Willis who suggests (1990:18) that:If it ever existed at all, the old mass has been culturally emancipated into popularly differentiated cultural citizens through exposure to a widened circle of commodity relations. These things have supplied a much widened range of symbolic resources for the development and emancipation of everyday culture.
There is a clear correspondence between Williss observation and Maffesolis contention that neo-tribalism involves a rationalized social [being] replaced by an emphatic sociality, which is expressed by a succession of ambiences, feelings and emotions (1996:11). Once again, the central implication here is that a fully developed mass society liberates rather than oppresses individuals by offering avenues for individual expression through a range of commodities and resources which can be worked into particular lifestyle sites and strategies (Chaney 1996). At the same time, however, Maffesolis notion of an emphatic sociality allows for the fact that such sites and strategies are in no way xed but may change, both over time or in correspondence with the different groups and activities with which individuals engage in the course of their everyday lives.
Neo-Tribalism and Urban Dance Music Processes of neo-tribalism, as these relate to sensibilities of style and musical taste among contemporary youth, have been highlighted considerably by the current urban dance-music scene, particularly the musical and stylistic uidity which underlies this scene. With reference to ethnographic work carried out on the dance-music scene in the city of Newcastle upon Tyne in north-east England, I will now present an empirical illustration of neo-tribalisms relevance for our understanding of the collective sensibilities of taste and style which characterise contemporary youth. My research on the urban dancemusic scene in Newcastle was conducted over a twelve-month period between October 1994 and October 1995 and forms one part of a larger research project which also looks at the signicance of bhangra, hip hop and progressive rock in a local context (see Bennett 1997a; 1997b; 1999a; 1999b). Preliminary data on the Newcastle dance-music scene was acquired through interviews with staff of local youth magazines such as The Crack and zine projects such as NE29. In the case of the zines several of the people involved in their production were dance-music enthusiasts and acted as gatekeepers, introducing me to other members of the local dance-music scene.
My research methodology was qualitative in nature and incorporated participant observation, semi-structured one-to-one interviews and focus groups (group discussions on set themes).1 In total, I interviewed around forty dance-music enthusiasts in Newcastle, ranging in age from 18 to 30, and attended sixteen dance-music nights in city centre clubs and eleven house party events. A Tribal ExperienceYoung men with shaved heads and pigtails, stripped to the waist, are executing vaguely oriental hand movements. Freeze-framed by strobes in clouds of dry ice, revivalist hippies and mods are swaying in the maelstrom. Rastas, ragga girls, ravers there is no stylistic cohesion to the assembly, as there would have been in the (g)olden days of youth culture. So what is this noise that has united these teenage tribes? T. Willis, The Lost Tribes: Rave Culture. Sunday Times 18 July 1993
In much of the academic work focusing on urban dance music there is an implication that the style is symptomatic of a postmodern world of fragments in which the arbitrary incidence of signiers is taken for granted (see, for example, Muggleton 1997; Polhemus 1997). While such references to postmodernism indicate in part a general shift in sociological thinking during the early 1990s, it is arguable that they have also been inspired by urban dance music itself, or rather the way in which the music is created. Through its use of state-of-the-art digital technology urban dance music has facilitated new approaches to musical composition. An important development in this respect is sampling which allows for sound sources to be stored electronically in a computer memory (Negus 1992). By means of sampling, natural and recorded sounds can be removed from their original contexts and reworked into alternative soundscapes (Frith 1988). Clearly then, sampling has far-reaching implications for accepted notions of musical style in that it allows the contemporary composer to appropriate sounds from a range of musical and other sound sources and to subsequently re-use the latter in creating an entirely new piece of music. Thus, as an amateur urban dance-music composer and producer explained to me:When I start to write I try to get a rhythm track down rst and then work from there. Sometimes I can get something together myself and sometimes I just take someone elses drum loop. For example, the thing thats playing in the background at the moment is taken from a Black Sabbath song. So, Im using that drum loop to trigger some of my own samples. Then Ill programme in my own bass line. After that I might add some brass stabs into the track, lets say for arguments sake from an old Motown track. Then I might sample some pan pipes or a good sixties guitar break from somewhere and use that a couple of times in the track as well.
Such shifts in the compositional sensibilities of music-makers, it is argued, have elicited parallel shifts in the sensibilities of music consumers. Thus, it is
suggested, the increasing eclecticism or urban dance music is breaking open and redening conventional sensibilities of consumer taste as the individual enters a technological dreamscape of . . . reconstituted sound (Melechi 1993:34). It seems to me, however, that such new compositional sensibilities, rather than radically altering the way in which consumers respond to music, are themselves rooted in the sensibilities of post-war music consumers. Sifting through various types of music, artists and sounds, consumers characteristically choose songs and instrumental pieces which appeal to them with the effect that the stylistic boundaries existing between the latter become rather less important than the meaning which the chosen body of music as a whole assumes for the listener. Arguably, with the development of digital recording technology such forms of musical appropriation have been more forcibly demonstrated as contemporary composers and DJs, who are themselves working out of such eclectic consumer sensibilities, redirect the latter back into the processes of composition and performance. Thus, rather than signifying the onset of a form of postmodern musical sensibility, it could be argued that urban dance music draws upon and thus serves to underline an established and fundamental aspect of post-war popular music consumption. Signicantly, when the rst urban dance-music tracks began to appear there seemed to exist a ready-made audience who displayed no apparent objections to the musics transcendence of conventional style boundaries. Indeed, a major aspect of urban dance musics continuing appeal appears to revolve around the consonance of its blatant appropriation and re-assembling of stylistically diffuse hooks, riffs2 and melodic phrases with the musical knowledges and sensibilities of its consumers. This latter observation is supported in the following extracts taken from interviews which I conducted with urban dance-music enthusiasts:MIKE: Theres this club night thing once a week in Glasgow where they have some really good music on, its more like a kind of acid house kind of thing. Ive been there a couple of times. I was up there the other week and they dropped Bob Marleys Exodus in the middle of this fast rave thing . . . it was like boom [stamps foot to indicate a change in musics tempo and sings Exodus] and everybody went whoa . . . and it lasts for a couple of seconds and then the other stuff blasts right back in again. And its like great, whats happening next? AB: Dance music DJs put snatches of well-known pop songs into their mixes, dont they? JOHN:
Yeah, such as theyll be playing something quite hard and then theyll put something like Michael Jackson in . . . you know what I mean . . . and its not like people think Oh no, you know, Michael Jackson, and clear the dance oor . . . its just like Oh yeah, I recognise that, its Michael Jackson.
SUSAN: If its done well, if its chosen well [by the DJ] and it ts in with the music, then its really excellent.
To return to the concept of neo-tribalism, what comments such as those presented above begin to reveal is that musical taste, in keeping with other lifestyle orientations and preferences, is a rather more loosely dened sensibility than has previously been supposed. The nature of musical taste, as with music itself, is both a multi-faceted and distinctly uid form of expression. Music generates a range of moods and experiences which individuals are able to move freely between. Urban dance music, because of the style mixing involved in its production, serves to provide a series of snapshot images of such shifting sensibilities of musical taste being exercised by consumers. Indeed, in many of the larger clubs which feature urban dance-music nights, the desire of the consumer to choose from and engage with a variety of different musical moods has been further realised by using different rooms or oors as a means of staging a number of parallel events with club-goers free to move between these events as they please. Consequently, the nature of the urban dance-music event is becoming increasingly a matter of individual choice, the type of music heard and the setting in which it is heard and danced to being very much the decision of the individual consumer. Signicantly, such factors in turn have a marked inuence on the way in which urban dance-music enthusiasts talk about the actual process of music consumption. Thus, for many enthusiasts, clubbing appears to be regarded less as a singularly denable activity and more as a series of fragmented, temporal experiences as they move between different dance oors and engage with different crowds. This is clearly illustrated in the following discussion extract in which I asked a group of regular attenders of a particular urban dance-music clubnight in Newcastle to describe the nature of the event to me:AB:
How would you describe Pigbag? What kind of an event is it? Well, I would say, um, its a different experience depending upon . . . Upon whats on . . .
ROB: Theres three types of thing going on actually. Theres like the sort of caf room which plays hip hop and jazz, and then downstairs theres more singing sort of house music . . . and upstairs theres, eh . . . well, how could you describe that? DEBBIE: Well, its quite sort of, eh . . . the more housey end of techno music, with sort of like trancey techno . . . the sort of easier, comfortable side of techno.
Yeah, and then youll get people moving between all three oors and checking out whats going on.
A recent study by Thornton (1995) suggests that such patterns of music consumption are actually bound up with the conventions of particular club audiences whose tastes in music t within a frame of what she terms subcultural capital via which dance music clubbers distinguish themselves from mainstream clubs and their clientele. Given that the styles of music described by my interview group, despite their diversity, have a common thread of exclusivity in that they are produced by club DJs through skilful manipulation and mixing of vinyl records and the use of samples (see Haslam 1997) rather than bought in high-street record shops, it could indeed be maintained that the consumption patterns I describe are limited to urban dance music and have little value as a means of attempting to gauge wider patterns of response to the issue of choice in relation to music consumption. On the basis of my research, however, it seems to me that such uid and eclectic forms of music consumption, while they may assume particular forms of signicance for clubbers, are not in fact restricted to urban dance-music clubs but are also central to other aspects of youth and youth culture. Indeed, as Thornton herself concedes, despite the widespread use of the term mainstream it is impossible to qualify in empirical terms, the mainstream actually comprising of many different taste groups [whose] purchas[ing] of a given record may be contextualised within a very different range of consumer choices (1995:100). Nor are such uid sensibilities of music consumption restricted only to white youth. While researching the cultural response of Asian youth in Newcastle to bhangra, a style which has been described as underpinning a new Asian culture in Britain (Baumann 1997; see also Sharma et al. 1996), I discovered that responses to bhangra were actually very mixed with a number of young Asians claiming that bhangra was good music [only for] certain occasions. This view was elaborated on by a young female interviewee who explained: [Bhangra] is really suited to events where theres dancing . . . and celebratory events like the Mela. On occasions like that its great. At other times I dont listen to it, I listen to chart music and stuff like Prince. I dont really like bhangra that much at other times. (Bennett forthcoming) Such accounts are clearly consistent with the concept of neo-tribalism as I use it in the context of this article. Thus, in this particular instance, bhangra is acknowledged as an important aspect of the celebration of traditional Asian identity along with other cultural images and resources, such as traditional dancing and style of dress. As such, the musics appeal becomes xed within the context of those occasions on which this identity is celebrated. At other times the musical preferences, style of dress and other indicators of these young peoples identities orientate more closely around the Western styles and inuences with which they daily engage. Horak (1995) notes a similar pattern
of shifting tastes in the musical preferences of young Croat and Turkish migrants in Vienna whose musical preferences also switched between the traditional musics of their parent cultures and Western pop depending upon the particular context in which music was heard.
Style Tribes Neo-tribalism forces a similar questioning of the relationship between musical taste and visual style, particularly the way in which this relationship has been conceptualised in the work of the CCCS. Thus, Paul Willis has argued that visual style and musical taste are bound together in a homological relationship, homology being the continuous play between the group and [those items] which [produce] meanings, contents and forms of consciousness (1978:191). In noting the visual style mixing which occurred at some of the early raves, several theorists suggested that the arrival of urban dance music had led to a break up of the posited subcultural tradition as young people were seen to become far less concerned with the t between visual style and musical taste. Redhead, for example, in discussing the impact of acid house upon youth, observed how it involved a mixing [of] all kinds of styles on the same dance oor . . . attracting a range of previously opposed subcultures from football hooligans to New Age hippies (1993b:4). It seems to me, however, that, rather than signalling the end of a subcultural tradition, urban dance music opens up entirely new ways of understanding how young people perceive the relationship between musical taste and visual style which negates the notion of a xed homological relationship between musical taste and stylistic preference by revealing the innitely malleable and interchangeable nature of the latter as these are appropriated and realised by individuals as aspects of consumer choice. While this is not to completely dismiss the idea that a form of symmetry can exist between an individuals image and the nature of their taste in music, what it does serve to illustrate is that the relationship between musical taste and visual image is much less rigidly dened than was once thought. Indeed, as is evidenced by the following account, rather more uid notions of musical taste and attendant visual image were in place long before the appearance of contemporary urban dance-music forms. Thus, explains the interviewee:In the town where I grew up we were all rockers. We were leather clad, we were rockers. But it was during the punk thing and I used to like the Clash . . . eh, and I clearly remember Donna Summers I Feel Love being one of the best songs of 76 or whenever it was and really, really liking it . . . and a lot of my friends liking it a lot as well, although it was actually still a bit weird to admit it . . . because we were all into Zep [Led Zeppelin] and Sabbath [Black Sabbath] and Thin Lizzy and all the rest. But now youve got people like Lefteld or the Chemical Brothers, who are quite happy to pick up very heavy metal guitar riffs and throw that into a dance mix
. . . or Primal Scream come along and they do a rock album and then other people get hold of that and remix that stuff and, eh, people will go and listen to it and theyre quite happy to dance to it . . . I think dance-music culture has allowed people to be quite open about the fact that they actually quite like a lot of different stuff. Ive never been able to understand the divisions in music. Im quite happy to go from Orbital to Jimi Hendrix.
As the above extract serves to illustrate, the relationship between musical taste and visual style, rather than assuming a quintessentially xed character, has typically been understood by young people as a rather more loosely formulated sensibility. In consuming popular music the individual is free to choose, not only between various musical styles and attendant visual images, but also how such choices are lived out and what they are made to stand for. Moreover, in choosing certain musical styles and visual images, the forms of association and social gatherings in which young people become involved are not rigidly bound into a subcultural community but rather assume a more uid, neo-tribal character.
Conclusion During the course of this article I have been concerned to argue that the concept of subculture is essentially awed due to its attempt to impose a hermeneutic seal around the relationship between musical and stylistic preference. I then put forward a new theoretical framework for the study of the cultural relationship between youth, music and style using the Maffesolian concept of neo-tribalism. I suggested that neo-tribalism provides a much more adequate framework as it allows for the shifting nature of youths musical and stylistic preferences and the essential uidity of youth cultural groups. Such characteristics, I argued, have been a centrally dening, if developing, aspect of consumer-based youth cultures since the establishment of the post-war youth market. In the nal part of the article I have attempted to substantiate this argument drawing on ethnographic research of the urban dance-music scene in the city of Newcastle upon Tyne in north-east England. I have endeavoured to illustrate how urban dance music and its attendant sensibilities of consumption, although appearing to have inspired a new chapter in the history of post-war youth culture, are actually the product of neo-tribal sensibilities which have characterised young peoples appropriation of popular music and style since the immediate post-war period, such sensibilities being an inevitable aspect of late modern consumer society.Notes 1. During the course of carrying out my research on dance music in Newcastle I conducted a total of four focus group sessions, the size of the groups varying from ve to seven members. Each focus group was formed from contacts I made
when carrying out participant observation in dance clubs. The members of the groups were as follows: rst group John, Susan (students), Dave (unemployed), Jill (secretary), Rick (youth club worker); second group Mike, Sarah, Jason (unemployed), Richard (record shop employee), James (bar worker), Anne (receptionist); third group Diane, Shelley (unemployed), Rob, Julie (students), Debbie (part-time secretary); fourth group Paul, Gary, Alice, Jackie, Chris (students), Petra, Phil (unemployed). (Note: the names of all group members have been changed.) The focus group sessions were held over a ve-month period between June and October 1995. The sessions took place on Tuesday or Wednesday evenings at the house or at of one of the members. A riff is a series of repeated notes which can be said to characterise the song or piece of music in which it is featured. Examples of riff-based songs include the Rolling Stones (I Cant Get No) Satisfaction and Michael Jacksons 1983 hit Beat It.
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FINE, G. A. and KLEINMAN, S. 1979. Rethinking Subculture: An Interactionist Analysis. American Journal of Sociology 85:120. FRITH, S. 1983. Sound Effects: Youth, Leisure and the Politics of Rock. London: Constable. FRITH, S. 1988. Video Pop: Picking Up the Pieces. In S. Frith (ed.), Facing the Music: Essays on Pop, Rock and Culture, 2nd edn. 1990. London: Mandarin. HALL, S. and JEFFERSON, T. (eds.) 1976. Resistance Through Rituals: Youth Subcultures in Post-War Britain. London: Hutchinson. HASLAM, D. 1997. DJ Culture. In S. Redhead, D. Wynne and J. OConnor (eds.), The Clubcultures Reader: Readings in Popular Cultural Studies. Oxford: Blackwell. HEBDIGE, D. 1976. The Meaning of Mod. In Hall and Jefferson (eds.), Resistance Through Rituals. HEBDIGE, D. 1979. Subculture: The Meaning of Style. London: Routledge. HETHERINGTON, K. 1992. Stonehenge and its Festival: Spaces of Consumption. In R. Shields (ed.), Lifestyle Shopping: The Subject of Consumption. London: Routledge. HETHERINGTON, K. 1998. Vanloads of Uproarious Humanity: New Age Travellers and the Utopics of the Countryside. In T. Skelton and G. Valentine (eds.), Cool Places: Geographies of Youth Culture. London: Routledge. HORAK, R. 1995. Diaspora Experience, Music and Hybrid Cultures of Young Migrants in Vienna, unpublished paper given at the 1995 British Sociological Association Annual Conference at Leicester University. JEFFERSON, T. 1976. Cultural Responses of the Teds: The Defence of Space and Status. In Hall and Jefferson (eds.), Resistance Through Rituals. JENKINS, R. 1983. Lads, Citizens and Ordinary Kids: Working Class Youth Lifestyles in Belfast. London: Routledge and Kegan Paul. KELLNER, D. 1992. Popular Culture and the Construction of Postmodern Identities. In S. Lash and J. Friedman (eds.), Modernity and Identity. Oxford: Blackwell. LAING, D. 1985. One Chord Wonders: Power and Meaning in Punk Rock. Milton Keynes: Open University Press. MCROBBIE, A. 1980. Settling Accounts with Subcultures: A Feminist Critique. Reproduced in S. Frith and A. Goodwin (eds.), On Record: Rock Pop and the Written Word, 1990 edn. London: Routledge. MCROBBIE, A. 1984. Dance and Social Fantasy. In A. McRobbie and M. Nava (eds.), Gender and Generation. London: Macmillan. MCROBBIE, A. 1994. Postmodernism and Popular Culture. London: Routledge. MCROBBIE, A. and GARBER, J. 1976. Girls and Subcultures: An Exploration. In Hall and Jefferson (eds.), Resistance Through Rituals. MAFFESOLI, M. 1996. The Time of the Tribes: The Decline of Individualism in Mass Society. London: Sage. MAYS, J. B. 1954. Growing Up in the City. Liverpool: Liverpool University Press. MELECHI, A. 1993. The Ecstasy of Disappearance. In S. Redhead (ed.), Rave Off: Politics and Deviance in Contemporary Youth Culture. Aldershot: Avebury. MILES, S. 1995. Towards an Understanding of the Relationship Between Youth Identities and Consumer Culture. Youth and Policy 51:3545. MUGGLETON, D. 1997. The Post-subculturalist. In S. Redhead, D. Wynne and J. OConnor (eds.), The Clubcultures Reader: Readings in Popular Cultural Studies. Oxford: Blackwell. NEGUS, K. 1992. Producing Pop: Culture and Conict in the Popular Music Industry. London: Edward Arnold. POLHEMUS, T. 1997. In the Supermarket of Style. In Redhead, Wynne and OConnor (eds.), The Clubcultures Reader. REDHEAD, S. 1990. The End-of-the-Century Party: Youth and Pop Towards 2000. Manchester: Manchester University Press.
REDHEAD, S. (ed.) 1993a. Rave Off: Politics and Deviance in Contemporary Youth Culture. Aldershot: Avebury. REDHEAD, S. 1993b. The End of the End-of-the-Century Party. In Redhead (ed.), Rave Off. SHARMA, S., HUTNYK, J. and SHARMA, A. (eds.) 1996. Dis-Orienting Rhythms: The Politics of the New Asian Dance Music. London: Zed Books. SHIELDS, R. 1992a. Spaces for the Subject of Consumption. In R. Shields (ed.), Lifestyle Shopping: The Subject of Consumption. London: Routledge. SHIELDS, R. 1992b. The Individual, Consumption Cultures and the Fate of Community. In Shields (ed.), Lifestyle Shopping. THORNTON, S. 1995. Club Cultures: Music, Media and Subcultural Capital. Cambridge: Polity. WILLIS, P. 1978. Profane Culture. London: Routledge and Kegan Paul. WILLIS, P. 1990. Common Culture: Symbolic Work at Play in the Everyday Cultures of the Young. Milton Keynes: Open University Press. WHYTE, W. F. 1943. Street Corner Society: The Social Structure of an Italian Slum. Chicago: Chicago University Press. Biographical note: DR ANDY BENNETT is lecturer in sociology at the University of Kent at Canterbury. Prior to studying for his doctorate at Durham University between October 1993 and October 1996 he spent two years in Germany as a Musikpdagoge (music instructor) with the Frankfurt Rockmobil project. His book Popular Music and Youth Culture: Music, Identity and Place will be published by Macmillan in late 1999. Address: Department of Sociology, Darwin College, University of Kent, Canterbury, Kent, CT2 7NY.


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As seen on Rock the Block, HGTV star Jasmine Roth built a huge island covered with Dolomite marble and Northern California Dark Walnut with seating for eight, and floor to ceiling custom glass cabinets, to transform the kitchen of her house and "rock" it to the highest increase in market value to win season one of Rock The Block.
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Project Paddlepop IV - 100pts for 15m. Took way less than the 15m.
Indeed I believe we are correct...Just screened out of Project Dragonfly. Looks like it might have been about phones or internet.
Email this morning for Project Dragonfly (also 15 mins for 150 points) - asking about telecommunications (accounts held) and then what I am looking to purchase in next 6 months. I said none and got bumped.
I personally would not qualify for this one as I don't drink alcoholCompleted Project Wizard - about beer.


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by Lauren Maffeo
Published on 6 December 2016
Did you sleep through your parents' pre-college lectures about budgets? If so, you might be in a pickle when you need to build your first small business budgeting template.
A healthy cash flow lies behind every successful small business owner. But this doesn't happen overnight, or with "I'll spend less next month" excuses. It happens when a small business owner is honest about the expenses it will take to achieve their short and long term goals. Then, they create a budgeting template to track all of these expenses.
The challenge is that this can quickly feel like a minefield. The pen-and-paper/Excel options don't cut it for long. If you don't have a tool to help you see the big financial picture, your small business could soon be in the red.
This is where budgeting software plays a key role.
Think of budgeting software as Mint for business - it helps you create and stick to a spending plan. You'll feel like a rock star as you check off each fiscal milestone on your way to small business success. And managing your budget in the Cloud ensures that you'll have easy access to it wherever you are.
In lieu of (yet another) parental lecture, here's a checklist to help you find the best software to digitize your budgeting template:
You can right-click on the checklist if you prefer to download and take it on the go.
Here are some popular budgeting software tools to help start your search:
Read these reviews to learn what readers love - and loathe - about different budgeting software tools.
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Hawk Nelson "Miracle" Update: Hawk Nelson is making a difference "one little miracle" at a time this fall on the REVOLVE tour across the nation. The band has devoted this fall to a campaign they've created based on their hit single. As previously announced, the band is visiting Ronald McDonald homes in REVOLVE tour cities as well as raising money for the Hands and Feet Orphanage in Haiti and partnering with TOMS shoes. For more information and how to get involved, go to: www.hawknelson.com
Family Force 5 Celebrating the Holidays Early: After the successful sophomore release Dance or Die in August, Family Force 5 joins the fourth annual Winter Wonder Slam with TobyMac and Relient K along with special guest B.Reith that kicked off last night in South Carolina running until December 14th. The bands ask that those attending one of the 17 dates bring a new, unwrapped gift to the concert as part of a Toys for Tots toy drive. Also to be noted that each year the greatest need is for preteen and teenagers. This is a part of the U.S. Marine Corps Toys for Tots program. For the complete list of tour dates and cities visit the tour site and www.myspace.com/familyforce5 .
Run Kid Run is a Sure Hit with "Sure Shot" at Rock Radio: Run Kid Run is No. 1 this week on the rock radio format with their current single "Sure Shot." The band is currently on Creation Tour: The Festival, which has been a huge success across the country. This summer, Run Kid Run released their sophomore album Love at the Core, following their hit debut in 2006 "This Is Who We Are." For more information on RKR, visit here.
November 25th Releases:
Jeremy Camp will be releasing the highly anticipated "Speaking Louder Than Before" in just 10 days. Some fun facts about this album: Wife Adrienne sings on two tracks; produced by Brown Bannister; Jeremy taped video song devotional for each song on the album. For more information on Jeremy Camp's release, click here.
Demon Hunter will be releasing a DVD documentary titled 45 Days. This DVD features 90 minutes of documentary about the band in addition to a full live set from Nashville, TN. During their last tour (The Stronger Than Hell Tour), Demon Hunter filmed a documentary of their life on the road and the relationship with their fans. To get a glimpse of the film, go to www.45daysfilm.com. The film's original soundtrack is by Demon Hunter and packaged in a 3-disc digipack filled with photos from the tour.
The Almost is releasing their EP No Gift To Bring -- this is the band's holiday EP recorded and produced by Underoath's own Tim McTague. The collection is an eclectic one, offering up a brand new song (the achingly introspective "Awful Direction"), a cover song, radically new versions of two tracks from Southern Weather ("Dirty And Left Out" and "Amazing Because It Is") and Aaron Gillespie's take on a classic Christmas song, "Little Drummer Boy," which is also featured on X Christmas. For more information on this release and The Almost, click here.
Bands in the Studio:
As we near the end of the 2008, bands are hitting the studio to prepare for 2009 releases. Some of these bands include Falling Up, MxPx (On the Cover 2), Emery, August Burns Red, Surrogate, Seventh Day Slumber and many more -- stay tuned for updated release list!
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KAT - "Elvis" Original Acrylic Painting on Gallery Wrapped Canvas, Hand Signed with Certificate of Authenticity.
Born and raised in Texas, KAT is an American pop artist through and through. Her artistic talent was acknowledged at an early age and she was surrounded by creative people: her family was full of musicians. While KAT leaned toward the visual arts, the music with which she was raised, including folk, bluegrass, and rock and roll, inspired her art. KAT was selling this remarkable art by the time she was fourteen and when she finished high school she was awarded a scholarship to study the Fine Arts at the Art Institute of Chicago.
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Motivation - Wikipedia
You Don t Need Motivation, You Need Discipline | Breaking.
What is motivation? definition and meaning.
You Don t Need Motivation, You Need Discipline | Breaking.
What is motivation? definition and meaning.
i need motivation to write an essay
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People go after big goals only to lose their drive or fail motivation is a tricky subject.