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Workers at Travelocity made a starting wage of $8 an hour, plus training and benefits. But Travelocity lost $55 million last year and was looking to cut costs fast. It decided it could save $10 million by moving its Clintwood call center to India. The findings concerning positive outcomes were no less intriguing. Whether it was the joy of a favored player's home run or the joy of a rival's strikeout, the fans' brains lit up in the same spot the ventral striatum. This region is associated with the subjective experience of pleasure, and indeed the fans described both personal victory and schadenfreude as pleasurable.
© Mike Savage, Gaynor Bagnall, Brian Longhurst 2005
First published 2005
Published in association with Theory, Culture Society, Nottingham Trent University
Apart from any fair dealing for the purposes of research or private study, or criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, this publication may be reproduced, stored or transmitted in any form, or by any means, only with the prior permission in writing of the publishers, or in the case of reprographic reproduction, in accordance with the terms of licenses issued by the Copyright Licensing Agency Inquiries concerning reproduction outside those terms should be sent to the publishers.
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The origins of this book date from 1996 when the Economic and Social Research Council (to whom we are duly grateful) funded our project called 'Lifestyles and Social Integration: a study of middle-class culture in Manchester'. The aims of the research project were influenced by what Rosemary Crompton (1998) has identified as the 'employment aggregate' approach to class analysis. This perspective, associated with sociologists such as John Goldthorpe and Gordon Marshall, considers how people's class position within employment relationships affects their life chances and actions, such as their educational achievement (famously, Halsey et al. 1980), or political orientations (Heath et al. 1985, 1991; Evans 1999). We were aware that this perspective had not been much applied to the study of consumption, leisure practices and lifestyles (though see Savage et al. 1992, and subsequent discussions in Butler and Savage 1995; Chaney 1996; Lury 1997; Warde 1997 for partial exceptions), and were especially interested to map differences in middle-class lifestyles. Our plan, therefore, was to use qualitative methods to expand our understanding of consumption patterns and lifestyles within the middle-class, focusing on four local areas chosen to exemplify potentially different forms of middle-class culture. We were concerned to pay particular attention to the local contexts in which consumption took place, drawing upon Gaynor Bagnall's and Brian Longhurst's earlier research on audiences (Longhurst and Savage 1996; Bagnall 1996, 1998; Abercrombie and Longhurst 1998).
The research was conducted between 1997 and 1999, and duly led to a clutch of papers (Longhurst et al. 2001; Savage 2000; Savage et al. 2001; Savage et al. 2004a; Bangnall et al. 2003). However, we did not have time to fully write up our research immediately after completing the fieldwork. Gaynor took up her first lecturing post at Liverpool John Moores University with all the demands that a new job entailed. Brian became Director of the Institute for Social Research (and later Head of the School of English, Sociology, Politics and Contemporary History) at the University of Salford, and Mike became Head of the Sociology Department at the University of Manchester. In addition, we all had the demands of young children! While we had time to 'mine' the data for issues of particular interest, such as class identity (Savage et al. 2001), or radio listening (Longhurst et al. 2001), we did not have the chance to analyse the interview data as a whole, much of which was left untouched until 2002. The bulk of the data was analysed and the book written from summer 2002 to summer 2003 when Mike had a year's [Page ix] sabbatical. Mike therefore took the lead, with input from Gaynor and Brain, in writing up what had been very much a team project.
When we came to write this book, our framing concerns had shifted. Mike's Class Analysis and Social Transformation (2000), written after we collected the data but before we fully analysed it, saw him becoming more sceptical of the scope of the 'employment aggregate' approach to class analysis for the understanding of consumption and lifestyle. He argued that while close relationships between class position and life-chances could be detected, there was little evidence that identity, values and lifestyles were so directly linked. This was of course a familiar (though largely untested) claim in much sociological writing of this period (see for instance Chaney 1996). We became increasingly interested in understanding the local contexts in which we carried out our interviews, and understanding the relationship between locale, lifestyles and identities. Rather then seeing class cultures and lifestyles as fundamentally the product of occupation and employment, could we instead see them as arising out of residential processes?
This new interest chimed in with research demonstrating the significance of place for outcomes in the areas of health, political alignments, and so on. But it raised its own can of worms. We needed to consider how our research related to older debates in community studies and urban sociology regarding the significance of place, neighbourhood and community. More seriously still, it was not clear what theoretical warrant there was for emphasising local processes when, in a globalised world, people and objects were held to be mobile. Furthermore, given the general acceptance that neighbourhoods are not now (even if they ever were) face-to-face communities, how could we understand the salience of place? We became preoccupied by resolving these issues, which led us to put the analysis of middle-class cultures, consumption and lifestyles into a different theoretical frame.
In the end we have written a book about the nature of local belonging in a global world. We hope that we have cast our local case studies in a way that will be interesting to a wide audience, including people who have no interest in, or knowledge of, the North West of England. The strength of our book, we would like to think, is in the quality of the interviews we carried out. There is no shortage of sophisticated theoretical frameworks, but there is very little empirical research which allows us to explore what globalisation 'on the ground' entails. This is the gap that we hope our book addresses in an interesting – and perhaps provocative – way!
The first chapter rehearses our theoretical concerns and lays out our methodology.
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argues that while globalisation theory is deeply concerned with understanding the relationship between the global and the local, we need to distinguish those approaches which see the local simply as an instance of epochal global change, and those which see the local as irritant. Taking up the latter approach through the insights of Arjun Appadurai, Walter Benjamin and Doreen Massey, we show how Pierre Bourdieu's social theory might be extended to understand how people might feel they belong in certain contexts. Chapter 1 also briefly outlines [Page x] and defends our methodology, and introduces our choice of Manchester as a suitable place to examine these issues.
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is possibly the most important chapter in the book in introducing our core concept of elective belonging. We show that people's feeling of belonging is not linked to any historical roots they may have in the area. Indeed, those relatively few people who are 'born and bred' in the place where they still live often feel ill at ease there. However, we also show that people are critical of those who they see as transients, with no ties to the place they now live in. Our concept of elective belonging argues that places are not characterised by tensions between insiders and outsiders but that instead they are defined as locales for people electing to belong (and not just reside) in specific places.
This argument is elaborated in later chapters.
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shows that bringing up children plays a key role in this process of electing to belong. In-migrants who bring up children, talk about the way that this makes them feel at home. However, following the work of Ball (2002) and Butler and Robson (2003a) we show how such groups are concerned with the local politics of schooling, and how belonging is therefore related to the wider spatial organization of the educational field. Choosing to belong to a place hence involves comparing places and invoking a relational frame of awareness.
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takes this argument further by showing how people's sense of feeling at home depends not on their attachment to some kind of face-to-face community but to the way that they connect their location to other places that they prize. In a world with global connections, residents routinely associate the place that they live with other places, sometimes places at a significant distance such as London. However, we also show that these kinds of networks of the cultural imaginary are not fully global in scope: the spatial references rarely stretch beyond the British Isles.
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considers how our respondents talked about the city of Manchester. For all our four areas, Manchester was the nearest major city, and most respondents had very clear and emotive views about the city. We show, however, that the significance of Manchester is not that where people feel loyalty to a community with which they are bound. Rather, people's perceptions of the city are related to their visualisation of its special sites and its role as centre of high culture. We use these findings to criticise arguments associated with the 'LA School' regarding the fragmentation and decentralisation of urban space, and lend critical support to Le Gales's recent emphasis on the distinctive character of European cities.
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considers how work cultures affects the nature of social ties, and allows us to examine the extent of class formation in our four areas. We show that people's friendship patterns and interaction with work colleagues is remarkably differentiated, with little overlap between these spheres. There is relatively little spill over between work and social life, leading us to doubt that there are any marked processes of class formation currently visible.
Chapter 7 explores the role of the media in the cultural imaginary of our respondents. The media is often seen as central to the organisation of global [Page xi] cultural flows, yet we show how people's media use is more complex than such a view might suppose. People distance themselves from media use, and emphasise their agency choosing what they watch. We show how people are concerned to mark place in their narratives of the media use, and we demonstrate, against the claims of globalisation theory, that the spatial range of most cultural references is highly delimited.
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focuses specifically on people's global reflexivity to consider how they talked about global issues and connections. We argue for the value of seeing our respondents as part of a British imperial diaspora, with connections spread to other parts of the English speaking world, but with little other contact. We show how limited people's sense of global reflexivity actually is, and argue that the concept of cosmopolitanism has little value in accounting for global awareness. Finally, we lay out our main arguments with respect to globalisation theory in the Conclusion.
Turning to our acknowledgements, we would like to thank Sage (and Chris Rojek and the Theory, Culture and Society team in particular) for agreeing to publish our book. In a period when it is ever more difficult to publish research-based books, we sincerely thank them for their support, and hope they are happy with the result. Sage's reader, Frank Webster, helped us to sharpen our final manuscript. It should be noted that we have not had space to report all the findings germane to our concerns. Readers who are interested in how our arguments relate to debates on social capital might therefore wish to consult Bagnall et al. (2003), Savage et al. (2004, 2005), on social class (Savage et al. 2004b).
Needless to say, we have learnt much from many people during this project. First and foremost we are obviously grateful to the ESRC for their support (and more particularly, the support of its referees) without which this book could not have been written. During the early stages of the research project we were guided by a steering group which included Steve Edgell (Salford), Ronnie Frankenberg (Brunel/Keele), Karen Evans (Liverpool), Rosemary Mellor (Manchester), Roger Silverstone (LSE), Derek Wynne (Manchester Metropolitan University) and Roger Burrows (University of York). Rosemary and Derek have both sadly died since the project began and we would like to think that there are traces of their influence in this study. Paul Joyce helped with data analysis. As the book took shape we have benefited enormously from the conversations and interest of Nick Abercrombie, Lisa Adkins, Stephen Ball, Tony Bennett, Talja Blokland, Tim Butler, Eamonn Carrabine, Garry Crawford, Nick Crossley, Fiona Devine, Rob Flynn, Peter Halfpenny, Sylvia Hayes, Helen Hills, Johs Hjellbrekke, Tony Kearon, Dan Laughey, Patrick Legales, Annemarie Money, Bev Skeggs, Alan Warde, and Paul Watt. We certainly have not been able to satisfy them on all the points they have raised, but we are flattered that from their diverse positions they have wanted to engage with our work. Mike would particularly like to thank Fiona Devine, Bev Skeggs and Alan Warde for helping him to explore many of the issues about class, stratification and culture – often over a congenial glass of wine!
[Page xii] Versions of chapters have been given to the following audiences who we thank for their comments: British Sociological Association Annual Conferences (1997, 1999, 2002); The Legacy of the Frankfurt School in Cultural Studies conference (Salford 1998) Cultural Studies and Interdisciplinarity: Difference, Otherness, Dialogue, Translation conference (Leeds 2000) Cultural Change and Urban Contexts conference (Manchester, Manchester Metropolitan and Salford 2000) Crossroads in Cultural Studies conference (Tampere 2002) the Turkish Oral History Foundation (Istanbul 2003); the Institute of Social and Economic Research, University of Essex; Liverpool John Moores University; University of Manchester University of Salford University of Sheffield University of Leicester Open University University of Lancaster and Unilever.
Finally, Mike would like to thank Helen and Isambard for sharing the experience of 'elective belonging' in Withington, South Manchester. Gaynor would like to thank Graham, Claire, and Jack for all their support and especially for 'dancing on a Saturday night' and her Mum, Doreen for always being there. Brian would like to thank Bernadette, James and Tim for continuing to share it all.
In the late 1960s a group of eminent urban geographers, planners and sociologists associated with the Centre for Environmental Studies listened to a paper examining 'developing patterns of urbanisation' (Cowan and Diamond 1969). This provided an account of anticipated urban trends up to the century end, roughly the time when we conducted our interviews. Placing our findings against these expectations reveals how the expectations of 30 years before had largely been confounded. The paper outlined the dominant trend within Britain towards the creation of one large megalopolis. '(T)he dominance of London and the associated belt of almost contiguous urban development that stretches to Leeds and Liverpool will increase and the infant megalopolitan heart of Britain will have come to manhood. The currently projected motorway network will become its High Street'. They went on to add that 'we have to ask if there is still a discernible regional scale'.
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Yesterday, Universal Pictures announced a deal for Louis Leterrier to direct G, a science fiction "tentpole" movie. Nothing much was revealed about G, except that it's "a scifi disaster pic with shades of The Day After Tomorrow and Taken." And they haven't hired a screenwriter yet.
But we're almost certain this is the same project as Gravity, which Pajiba reported back in June that Leterrier was in talks to direct. Back then, Gravity was described as being "about a father who has to search for his lost child, as the world stops spinning and Earth begins to lose its gravity." And the same "The Day After Tomorrow meets Taken" elevator pitch was mentioned back then.
Presumably they ditched the title Gravity since Alfonso Cuarón is directing another film with that title. But they've probably still kept the main premise, which sounds like 2012 mashed up with The Core. Everybody is going to have to revise their charts of "worst science in movies" after this film comes out. But we'll have to wait a bit — Leterrier is signed on to direct Now You See Me, the heist movie produced by Alex Kurtzman and Roberto Orci, first. [Hollywood Reporter]

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Storey to Students: 'Don't Wait'by Steve Charles • November 19, 2013 Share:
Two weeks ago in Capetown, South Africa, Dr. Peter Storey was meeting with the Elders, a group of international peacemakers and leaders that includes his friend Archbishop Desmond Tutu, former President Jimmy Carter, former United Nations Secretary Kofi Annan, and former Ireland President Mary Robinson.
Monday night he was speaking at Wabash, and the Methodist minister and global justice advocate reflected on what those Elders have in common.
"What binds them together? They have learned to imagine better," Storey said. He spent the next hour in Baxter Hall offering the Wabash community—particularly students—a way of better imagining what the world could be, and urging all to make a difference.
Storey told of working with Archbishop Tutu in the struggle against apartheid and of being chaplain for Nelson Mandela when he was imprisoned on Robben Island, but he was more concerned with the future of Wabash students than dwelling on his own past.
"This is not an academic lecture," the former president of the Methodist Church of South Africa and the South Africa Council of Churches warned. "I'm a preacher. And I hope you have serious desire to make change in the world.
"Life is about having a purpose, and if you're not concerned about what is happening in the world today, you should be. We need people who will make a difference, or we're going to go under."
Storey recalled the day Tutu returned from an impoverished township in South Africa after visiting the children there. Tutu had asked a little girl what she did when she had no food, and she had replied, 'We ask our neighbors.' And if the neighbors have no food? 'We drink water to fill our stomachs,' the little girl had said.
"When he returned from that township that day, Tutu vowed to take on the oppressive government that caused this," Storey recalled.
He recalled clashes in the streets between soldiers and protesters in the street during the apartheid era; many white South Africans in well-to-do suburbs claimed to be unaware of the struggle for freedom. Citing an old proverb Desmond Tutu often quoted, Storey said, "The one person you can't wake up is the person who is pretending to be asleep," Storey said.
He also recalled the day 100 young men—including two of Storey's sons—gathered on the lawn of a large house in one of those suburbs and refused to serve in the military and enforce the laws of apartheid.
Storey smiled as he quoted American activist for the disabled Henry Viscardi Jr.: "Blessed are those who dream dreams and are willing to pay the price to make them come true."
The minister described growing up during World War II, when his "childish mind was seared with the brutality of what humans could do to each other.
"I needed a compelling image to counter that, and for me, that was Jesus."
He said that after World War II, many Nazi ideals were resurrected in racist white South Africa: "To fight it we needed a clear and compelling vision of what South Africa could be and people who held fast to that vision."
He rejoiced in the fact that young people today can make a difference. He mentioned 16-year-old Jack Andraka's work in developing a new and inexpensive method that indicates the presence of pancreatic, ovarian, and lung cancer during early stages, when there is a better survival rate with current treatments.
"Kids don't have to wait to change the world," he said. "Start now. Don't wait. Make a difference. Don't waste your life on this earth. And don't be afraid."
Storey said that fear is "one reason many of us don't make a difference.
"As the Bible says, 'Perfect love casts out fear.' But perfect fear casts out love.
"The answer to fear is not necessarily bravery,' he added. "The answer to fear is to be so possessed by a more powerful source that there is no space for fear to get in.
"I am not a courageous person, but I was able to do courageous things because of what I might call 'divine stupidity'." I didn't dwell on the consequences, but on what was right."
Storey encouraged his audience to change the world, whatever their faith might be, but he acknowledged his Christian faith had given him his guiding vision.
"I'm utterly convinced that if you take Jesus seriously, you have to get involved with the poor, because that's where Jesus is. I had to be helped by black folk in South Africa to see the world for what it really is.
"So work among the poor, but don't go there expecting to do all the changing. They may change you— you may be the one transformed."
When asked how students can "make a difference" now, with all their studies and other commitments, Storey replied: "It doesn't have to take much time. It's not the scale of what you do, but that you do something to change the world."
"Dr. Storey's 'don't wait' refrain was well-received by students—including students of all ages," said Associate Professor of Religion Derek Nelson '99, Director of the Wabash Pastoral Leadership Program, which co-sponsored Storey's visit along with the Wabash Religion Department. "It's always easy to find reasons to delay, especially when your whole life is ahead of you. But the burning issues of our time won't wait for us.
"Storey mixed urgency with wisdom, which makes for an empowering message."


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It's probably the coolest stunt-driving you've ever seen in your life. After watching this video, you'll now want to take two wheels off your SUV and replace them while driving on the two remaining wheels. BUT YOU WILL DIE.
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Saudi Arabia, Tvhit, Cars +, Tamering, Smurfs, Drunk.
Now let's see them do that in Audis.
Oh, and DO NOT TRY THIS AT HOME.


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Setup your application's code
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For Sandy Alderson, Twitter isn't serious business. The social media platform is like Monday's "open mic night" at the local comedy house. He will fire a two-thumb, 140-character zinger every, oh, 60 days or so but, for the most part, the laughs are few, the comedy is amateur and the room is dormant.
Hey, is this thing on?
If history is any indication we should be getting another Alderson classic … right … about … now.
Last February @Mets GM tweeted:
What happened to my ride to Port St. Lucie? pic.twitter.com/hHJ3QHPP
— Sandy Alderson (@MetsGM) February 11, 2013
… And, we all remember this knee-slapper from February 2012:
Prepping for trip. Bought 4 like-new tires at chop shop across from Citi. He threw in free wiper fluid. Better than the Wheeler deal!
— Sandy Alderson (@MetsGM) February 10, 2012
Hey, give him a break; it's either laugh or cry. Alderson chose the former.
Three years ago when Alderson accepted the job as Mets GM he inherited a weak product and a fat payroll: sixth-largest in the league ($142,229,759) including Luis Castillo, Oliver Perez, Jason Bay and Francisco Rodriguez. The team was coming off their second straight losing season, finishing 14th in the in the National League in on-base percentage and 12th in slugging percentage. It was no laughing matter.
He told the media: "It may sound a little cliché, but we are going to work hard. We're going to work smart, I think. We're going to try to exploit all of the ways that players can be acquired, developed, retained. We're going to strive for consistency, but above all, excellence."
So, when fans read about Alderson's past success and heard words like "consistency" and "excellence," there was a sense of hope. The ticks related to the late-season collapses of 2007 and 2008 dissipated and fans got a whiff of confidence. It felt good – for the moment.
The Mets are beginning year four of "the plan" and no one's laughing. The New York Mets have not had a winning season since 2008. While we're on the subject, let's be clear about the phrase winning season. That simply means playing .500 or better (81+ wins). In short, the product has improved by a total of four wins since the 2009 season.
This is not funny.
Attendance has dropped from 4,042,045 in 2008 (the last winning season for the Mets) to 2,135,657 last year; almost 50% fewer fans despite opening a new stadium. According to Alderson, the Mets will spend more on payroll when fans starting supporting the team at the gate. Wait, that's another funny, right? No.
I have no opinion on how much money the New York Mets spend. I am uninterested in how much more the New York Yankees payroll is. Free agent signings are not the antidote to post-season baseball. What does get my heart rate up is winning baseball games.
I am patient and willing to accept "the plan" of building long-term success through the farm system. I get it. There's not a Mets fan in the world that wouldn't prefer a five-year run of success with the real chance at winning a World Series over a one or two year playoff contender followed by more attrition.
So, here we go: Spring Training 2014.


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How much work you are able to do during cancer treatment will depend on the stage of the cancer, the type of treatment you're having and the type of work you do.
It may be difficult to plan ahead, but it's sensible to reduce your workload if you can. It's useful to have a back-up plan for your business in case you find treatment more difficult than you expected.
Whatever you decide, you will probably need to take time away from work for appointments, treatment and follow-up.
We have more information that could help if you're thinking of stopping work altogether.
Occupational health advice
Some people working for an employer have access to help from an occupational health adviser. This is a health professional, such as a nurse or doctor, who specialises in workplace health issues.
Occupational health advisers use their medical knowledge and understanding of various jobs to help people make decisions about work.
They can advise you on health and safety laws, and find ways for you to work around the cancer and its treatment. Occupational health advice is not part of the treatment plan for most people with cancer. However, research suggests that more working people with cancer could benefit from this advice.
As a self-employed person, you would usually need to pay for this advice privately. You can find a private service through the Commercial Occupational Health Providers Association.


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High school boys basketball: Kolbe Cathedral tops ND-Fairfield
For a split second, as he fell to the floor after Earl Coleman crashed into him under the basket, Ian Gardner was certain he was about to be called for a blocking foul.
Instead, the referee pointed out his arm signaling a charge, waving off what would've given Coleman two points and a trip to the line with a chance for Notre Dame-Fairfield to tie Kolbe Cathedral with less than two minutes left in the fourth quarter.
It was a fitting finish for Gardner, who did a little bit of everything on his way to a game-high 21 points in the Cougars' 76-66 win at the Pitt Center Wednesday night.
"I thought it was going to be a defensive foul," Gardner said. "When he put his arms out, I was like, `Yes, our ball.'"
The Cougars (1-0) led by as many as nine points late in the fourth quarter before a spirited Lancers' comeback attempt spearheaded by Danny Upchurch. The senior guard scored the final of his team-high 20 points with a pair of free throws with 2:02 left, cutting the Kolbe lead to 69-66. Upchurch then leapt to intercept a long pass and fed it up court to Coleman, who collided with Gardner and was called for the charge.
On the next Kolbe possession, Gardner traveled. Coleman again cut to the basket only to have his shot swatted away in traffic, ending the late rally.
"We didn't get (the calls). That's part of the breaks," Notre Dame coach Vinny Laczkoski said. "We dug ourselves a hole and that was difficult to get out of. The kids, as you can see, don't give up."
Wednesday's game was the first of the new season for Kolbe after its contest scheduled for last Saturday against Stratford was postponed due to the Sandy Hook Elementary School shooting. There was a 26-second moment of silence before tip-off to recognize the victims of the tragic event in Newtown.
Chris Williams scored 17 points and Maurice Hill added 15 in an all-around balanced effort for Kolbe, which is coming off a loss to Capital Prep in the Class S semifinals.
"It was worth the wait," Kolbe coach Chris Smith said. "We had a whole two weeks of practice and my guys were anxious to play, but I didn't know what I was going to get out of them. We lost five seniors. We're trying to develop leaders."
Smith might have found one in the form of Gardner, an athletic 6-foot-3 junior forward with strong ball-handling skills.
Gardner set the tone early with 10 points in the first quarter. He finished with 10 rebounds, four blocks and three assists to go along with his 21 points.
"I feel like I can be a leader," he said. "I have a bigger role this year. Coach told me I had to step up and I did that tonight."
After a slow start, Notre Dame (1-1) got back into the game and tied it at 34-34 early in the third on a pair of free throws by Kevin Laing.
The Cougars found breathing room later in the third, again with an incident under the hoop between Coleman and Gardner. This time Coleman appeared to have a lay-up only for Gardner to block it into the rim. The Lancers protested for a goaltending call.
Seconds later on the other end, Hill drained a 3-pointer and was fouled. The four-point play made it 49-42.
email@example.com; twitter.com/CTPostCardillo
Jordan Tompkins 0 2-2 2 Jawon Pringle 0 0-0 0 Tyler Underwood 2 0-0 4 Donnell Stephenson 3 1-2 7 Ian Gardner 7 7-9 21 Chris Williams 8 0-0 17 Maurice Hill 4 4-7 15 Taivon Jones 2 5-6 9 Totals: 26 19-26 76
Dan Upchurch 5 8-15 20 Joe Mangiamele 1 0-0 5 C.J. Davidson 5 0-1 11 Kevin Laing 3 1-1 7 Jalen Jennings 2 4-6 6 Earl Coleman 6 2-4 14 Dante Peeler 1 1-1 3 Totals: 24 14-26 66
3-pointers: KC--Hill 3, Williams; ND--Upchurch 2, Davidson, Mangiamele
Fouled out: ND--Coleman


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Idaho Campus Certificate in Education, Technology & Online Learning
Advances in technology and digital tools for learning are constantly being made. Learn more about them in an Education, Technology, & Online Learning certificate program. Learn more about applying instructional technology theory and an array of digital tools by earning a Certificatein Education, Technology, & Online Learning.
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OJ The Pharoh - Say I Ain't The Coolest [Unsigned Artist]
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INTRODUCING "NEW ARTIST / SUPER PRODUCERS" OJ THE PHAROH aka King~Tut
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Interview with singer/songwriter Mac Davis
Source: Elvis Australia
May 9, 2015
Elvis Articles, Elvis Interviews, By David Adams
Q : When did you first see Elvis?
A : Oh, first time I saw Elvis was actually I saw him at the Lubbock County fairgrounds in Lubbock, Texas. And in fact, that first time I saw him, he was on the back end of a truck at the Hub Motor Company I believe it was parking lot. And there was about fifteen hundred screaming kids and mostly girls hanging around there and that's when he first had 'That's All Right Mama' out. And about a year later he came back to the fairgrounds there and sold out the place. And that was a big deal.
Q : What was your impression on seeing Elvis perform?
A : Flabbergasted, jaw dropped. Hero, you know. All that stuff. All of the above. You know, he was like nothing I'd ever seen before. Of course, I was just a kid, you know. So was he.
Q : Did Elvis inspire you to write songs or be a performer?
A : Yeah, it was between him and Buddy Holly. It was a lifetime dream of mine to write a hit song because Buddy Holly had and, of course, Elvis had been my hero and I remember I wrote a song, in fact, called 'Hooked on Music' that was a number one country song about first verse told about hearing Elvis on the radio and it was all very true. It was written, you know, it was New Year's Eve, I was fourteen at the time and I was celebrating four A-M with them hoodlum friends of mine and I heard a boy named Elvis Presley singing 'That's All Right Mama' on the radio. And it turned me on and I've been hooked on music from that moment on. And that's basically true. And it's pretty amazing to me that some fourteen years later my first hit record was an Elvis Presley record.
Q : Tell us how you got the song to Elvis. Was it 'Memories'?
A : Well, 'Memories' was my first top ten record, but Elvis had cut some of my stuff for movies and a guy named Billy Strange, who used to work with Nancy Sinatra here in Los Angeles, used to come by my office. I worked for a publishing company over in Hollywood and he'd come by the office looking for material and we'd shoot the breeze and I'd play him songs that everybody else had written and then I'd play him some of my stuff, too. And eventually, he was scoring a movie for Elvis and they were looking for a song for it and I had a song I actually had written for Aretha Franklin and it was called 'A Little Less Conversation' but it fit right into the situation in the movie, you know. All Elvis' movies in those days was situation, you know. The situation led to the song and that's all the movies were written for the music, really. And the song fit in there so I just changed a couple of words around and that was my first record with him and it got in the top fifty or something, top forty. I'm not sure, but that was my breakthrough and after that they'd come to me once in a while for this or that.
And I think he got the hungries again, wanted to peform again. And so they set up the big TV special in 68, I guess it was, and there was a chance for me to write one song for the section where Elvis sat in his black leather outfit and sang the old hits from the Sun days. They asked me to write a song bookending that, you know, about looking back over the years. And I sat up that night at Billy Strange's house and started writing about six o'clock in the evening and at eight oclock the next morning I had written 'Memories'. And we had to run down and do a demo on it that morning and present it to the powers that be and it turned out that they cut it and used it in the TV special and that became my first top ten record.
Q : How'd that make you feel Elvis cutting your song?
A : Pretty good. Pretty good, man. Ride down the street, you know, the song playing on the radio, roll your windows down and bet you every songwriters done that. I'll tell you a funny story about that. I had always one of my dreams not only was to get Elvis to cut a song or whatever, become a hit songwriter, but one of my real goals was to hear someone whistling a song I'd written. You know, somebody that didn't know me, just walking around whistling it. And the first time it happened I was at the Palomino Club, the country club out here in Los Angeles. Now defunct, I believe. But I was back in the men's room and I heard a guy whistling the B side of 'Memories', which was a theme song I wrote for one of his movies called 'Charro' and I recognized the melody and I went, 'Hey, what are you whistling?' He says, 'Charro' or something like that. Oh, man, it was the B side. I bet nobody ever heard it but that guy and me. Anyway.
Q : When you wrote 'Charro' were you given a song title?
A : I was just given the script and Elvis was doing the movie and Billy Strange, I guess, was doing the music and said see if you can come up with something. So I came over, typical 1960s type of theme song for a movie. '[Singing] You left behind the eyes of other men, Da-da-da-da, Charro!' I can't even remember it now. I'm sure they had to pretty much hog tie Elvis to get him to cut it but that was the days when he did what the studio told him to do.
Q : When did you have your first meeting with Elvis?
A : First time I actually met him, it was the day I met the Colonel when Elvis was recording some song I'd written for one of his movies. I'm not sure if it was probably 'A Little Less Conversation'. And I went over to the studio to watch him record it and went along with Billy Strange and Colonel Parker was there and Elvis was just having fun with the gang and all the Memphis boys and Colonel Parker was sitting over here in a, like a theater seat. They had a row of chairs there. It was like a row out of a theater. And Colonel Parker had the only cushion. And somebody said 'The Colonel wants to meet you'. And I said, 'You're kidding'. You know, I said, 'Okay'. And I ran over there and he says, 'You the boy that wrote this song?' And I said, 'Yes, sir'. He goes, 'What's your name?' And I said, 'Mac Davis'. He says, 'Bend over here and let the Colonel rub that curly head of yours'. And I said, 'Excuse me?' And all the Memphis boys says, 'Hey, let him do it'. So I did it and he rubbed my head and he said, 'Now you can tell anybody that Colonel Parker rubbed your head. You're gonna be a star'.
And I still have an old painting that the Colonel gave me long after Elvis dies. He came to see me at the Hilton when I had gone in there and it was the first time the Colonel had been back to the Hilton since Elvis had passed away. And he brought me this old painting and he had signed on the bottom of it, 'To Mac Davis whose curly head I once rubbed and told him he was gonna be a star. Signed, Colonel Parker'. And it was a copy of a painting. I thought it was typical of the Colonel. He says, 'This is my favorite painting of Elvis and I took the paper off of it'. It was a copy like on cardboard or something and it had a plastic frame on it and still had one of those little fluorescent lights attached to it at the top with the cord hanging off. So I've got it up in the attic somewhere.
Q : What was your inspiration for writing 'In the Ghetto'?
A : 'In the Ghetto', I'd been trying to write for years. I grew up with a little boy who lived in the ghetto and in Lubbock, Texas. We didn't have what is commonly known now as a ghetto, but there was problems worse. It was a dirt street ghetto. And it was a part of town I could never understand why my little buddy had to live over there and I lived where I lived. And his dad did construction work with my dad and then a little boy named Al Smith really kind of grew up together. And I'd always wanted to write a song about it and really the word ghetto didn't even come into prominence until the late sixties, other than referring to Jewish ghettos in Poland and as such. And I had always wanted to write a song called 'The Vicious Circle'. I always thought it was like, you know, the kids are born there, they grow up there, they die there, another kids born to replace them and just one day I started thinking about the ghetto as a title for the song. And the same day, a friend of mine named Freddy Weller showed me a lick on the guitar that he was playing and I thought it seemed like, and I took it home that night and I wrote this song. And that's where it came from, basically.
Q : Were you pitching it to Elvis? How did Elvis find it?
A : Elvis, I didn't, actually nobody even dreamed of pitching it to him in the beginning. Anything, if they asked me if I had a song and Elvis was cutting, I mean, I gave them everything I had. And that's what they were after the special did so well, I went on down to Memphis to do an album and Chips Moman was producing it and they called and asked if I had anything, you know, for Elvis and I said, "Sure." So I sent them a tape. They had nineteen songs on it and they recorded the first three songs on there. 'In the Ghetto', 'Don't Cry, Daddy' and another song called 'Poor Man's Gold', which they never did release. But 'Don't Cry Daddy', Elvis had told me that the first time I went over to his house he was gonna record that. I played it to him over there. I'll never forget him. They got real quiet, you know. 'Don't Cry Daddy' is a pretty sad song. He got to the end of it and it was just real quiet and Elvis says, 'I'm gonna cut that someday for my daddy'. And, by god, he did. He lived up to his word.
Q : Did Elvis ever tell you about 'In the Ghetto'?
A : We never talked about 'In the Ghetto' that I know of. I don't remember having a conversation with him about it. Next time I saw Elvis after that was at the Memphian Theater and at that time I was finally getting some notoriety as a performer. I'd done the Johnny Carson show some and this and that and I was doing a college concert in West Memphis, Arkansas and Joe Esposito or somebody called me and said Elvis wants you to come to the Memphian Theater and see a movie with us and so I went over there after my concert and found the place. I got me some popcorn and a glass of beer and walked down through the aisle. Then I see Elvis sitting in the middle of the theater. He was with Linda Thompson. And I just went down to that row and stepped across the fellow that was sitting on the end of the row and went down there and sat down next to Linda on the other side of him and said, 'Hi'. And we sat and talked and laughed throughout the whole movie and we never did talk about music. It was the first time I'd really sat down with Elvis and got to know Elvis as a person. And he was just like a big old kid, you know. It was like he never got past nineteen, I don't think, in a lotta ways.
And we sat and laughed and had a great time and just about the end, the movie was just about over. I went out to use the bathroom and one of the gang around him came back and says, you know, 'I hate to tell you this, Mr. Davis, but you're not supposed to be sitting next to Elvis'. And I said, 'What do you mean?' He says, 'Well, nobody sits next to Elvis'. I said, 'Well, I had, you know, tell me if I'm wrong but was it Elvis that invited me to come down and go to the movie?' He said, 'Yeah, but nobody sits'. He says, 'You notice Red and Sonny West don't even sit with him. Joe sits behind him. Everybody sits back in the back'. I said, 'Well, where was I supposed to sit?' And he said, 'Well, with the invited guests back in the...' There was a row back in the back for all the local people. Boy, I got hot. I really got hot under the collar and I told that guy, I said, 'You just tell me how to get back to my hotel'. He said, 'No, no, don't get upset'. I said, 'I am upset. I am thoroughly upset'. And that was a big deal about it. Later, I was still arguing with him, but I was still mad when we came out and the movie was letting out and Elvis came up and said, 'Where'd you go?' And I said, 'I was in the bathroom'. He knew I was mad. He says, 'What's the matter?' He says, 'You look upset'. And I told him what had happened. And he says, 'Who said that?' And I said, 'I don't wanna get anybody in trouble'. I just said, 'You know, I just think you oughta know that this goes on around you all the time. I don't see how you can have a life'. He said, 'Who told you that, man?' I said, 'I'm not looking to get anybody in trouble'. That's just the deal. And, you know, he says, 'What can I do to make it right?' I'll never forget 'What can I do to make it right, man?' And I said, 'Let me have your home phone number'. And he kinda went, 'Okay'. He says, 'Charlie'. Called Charlie Hodge. 'What's my home phone number?' Charlie looked like somebody'd hit him in the face with a bucket of water. He went, 'Huh?' He goes, 'What home phone number?' He says, 'The one, you know, my home phone number'. And Charlie says, 'The one you answer at home?' And he says, 'Yeah, the one me and Priscilla answer when people call the house'. 'You mean the one that we call and Joe calls and I call?' And he says, 'Yeah, that one'.
Charlie has a big conference back there and Charlie finally comes walking on and he wrote the number down on a matchbook cover, handed it to Elvis and Elvis says, 'Okay. So there you go'. And I said, 'That makes everything okay'. And I said, 'You know, I write three top ten records, you'd think that, you know, I oughta be able to just at least call you up and say, hey, I think I got a hit for you or something, you know'. I never called it. And I knew I wouldn't when I asked for it but it was like a matter of principle to me and I kept it in my phone book for probably fifteen years after he passed away. I still had Elvis' number in my book and I never called it.
Q : Did Elvis ever tell you how happy he was for your success?
A : No, he never did. I didn't have a lot of communication with Elvis. It was, I've told people this before. You know, you had to go through a barricade to get to Elvis. It was people hanging on every word and I felt very uncomfortable a lot of times. You know, if it was just me and Elvis one on one, which only happened once or twice in the times that I did see him, it was a really comfortable. He was a cool guy. He was a great guy. Laughed, you know, easy laugh, nice guy. But you always felt intimidated to be around him because everybody was hanging, you know, everybody was afraid you was gonna say the wrong thing to him and they was gonna have to deck you. At least you felt that way. So we really never talked much about music or anything. And I'm sure that Elvis was happy for me. I think he was the kind of guy that enjoyed other peoples success, especially if he had something to do with it. And, you know, I never tried to ride his coattails or anything but I've always given him credit for all the good things that have happened in my life.
Q : Where were you when you learned of Elvis passing?
A : I was out on the golf course, 1977, a guy came riding out in a golf cart and said, 'Did you know that Elvis died?' And I just said, 'Well, there you go'. You know, it was like I had kinda been expecting it and but it was still, it was like a shock. I remember just sitting there in the golf cart for a long time and right out in the middle of the fairway and just going, wow, what a waste. But, life goes on.
Q : What type of impact did Elvis have on your career?
A : Well, you know, if you look at my early pictures, performing on stage in Vegas, you'll see I've got on one of those Bill Belew suits with the sequins and stuff. And, of course, it was never as nice as Elvis' because Bill Belew would have lost his gig if he'd have made me one as nice as Elvis'. But I had two or three of those things made. And he made a huge impact. Every performer who ever performed in rock and roll or even close to it is lying if they tell you that they weren't influenced in some way or another by Elvis Presley. He turned the world around. I mean, he turned music around singlehandedly.
Q : Why do you think Elvis is still so popular?
A : This I don't know. If I knew that, I'd probably be the president of a great big record company but I'm not. And I think it was just that Elvis came along at a time he made it okay for white guys to sing black music. He made it okay for, I don't know. He really just changed the face of music when he came out. You know, he made it all right to wiggle and shake your hips and be sexual and sensual with music and still be a nice clean cut fellow and, you know, someway and another, he made that all come together and pulled it off.
Q : I had a lot of fun interviewing you. Thanks a lot.
Elvis Presley's Best Song Writers
If you like reading this article, you will love the book; Writing For The King - a 400 page Book with more than 140 interviews with songwriters like Paul McCartney, Leiber & Stoller, Pomus & Shuman, Red West, Mark James and Tony Joe White. Included are two CDs, the first contains previously unreleased RCA recordings of Elvis performing live in Las Vegas (1969 through 1972), the second a selection of the original demos submitted to Elvis.
The demo CD takes us from Heartbreak Hotel through classics like Teddy Bear, Trouble, Burning Love and Way Down.
'Writing for the King' by Ken Sharp is a fascinating behind-the-scenes story of politics, money, inspiration and great trivia about Elvis and the songs he turned into classics.
More Interviews
Interview with Larry Muhoberac
Interview with Michael Jarrett, songwriter, I'm Leavin'
Interview with James Burton
Interview with James Burton Sydney Australia 2006
James Burton : First Call For The Royalty Of Rockabilly
Interview with Ronnie Tutt
Interview with Ronnie Tutt #2
Interview with Jerry Scheff
Interview with Glen D. Hardin
Interview with Sherrill Nielsen
Interview with Terry Blackwood & Jim Murray
Interview with Tony Brown
Duke Bardwell
Interview with Scotty Moore
Bill Black
Interview with D.J. Fontana
Interview with Charlie Hodge
Interview with Ernst Jorgensen
Elvis Presley & the TCB Band
Tupelo's Own Elvis Presley DVD
Tupelo's Own Elvis Presley DVD Video with Sound.
Never before have we seen an Elvis Presley concert from the 1950's with sound. Until Now! The DVD Contains recently discovered unreleased film of Elvis performing 6 songs, including Heartbreak Hotel and Don't Be Cruel, live in Tupelo Mississippi 1956. Included we see a live performance of the elusive Long Tall Sally seen here for the first time ever. + Plus Bonus DVD Audio.
This is an excellent release no fan should be without it.
The 'parade' footage is good to see as it puts you in the right context with color and b&w footage. The interviews of Elvis' Parents are well worth hearing too. The afternoon show footage is wonderful and electrifying : Here is Elvis in his prime rocking and rolling in front of 11.000 people. Highly recommended.


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Testimonials and Case Studies
Their customers serve the country and we serve 2,000 of them a day with Precor equipment
MacDill Air Force Base
MacDill Air Force Base is located in Tampa, Florida. The base's fitness center covers 45,000 square feet and serves on average 2,000 customers a day. The structure is over 30 years old and has gone through a number of remodels. Along with the 20,000 people who work on the base accessing the facility, it also serves the needs of a significant number of retired veterans and wounded warriors. Meeting the requirements of this varied population is a serious challenge for the facility, staff and it's exercise equipment.
What we did
Over the past two years, Sharla Alexander, Fitness Center Director, working with Frank Palmer, head of Precor government sales and Jessi Edlebrock, representative for the East Coast, have totally transformed the facility's equipment. What had been a mix of outdated machines has become two complete cardio rooms filled primarily with Precor equipment.
They selected Precor because they knew that they needed dependable equipment that was easy to use and easy to service. They added a range of equipment including AMT®s, Ellipticals and Recumbents. All are equipped with Cardio Theatre® and Personal Viewing Screens to provide their customers with motivation to come back.
Our people consulted on the layout to make the most of their footprint. Our involvement continued during installation to make sure it all went smoothly. They have also taken advantage of our training programs and a maintenance contract is in place to make sure that their important customers always have access.
What they said
Sharla Alexander, Fitness Center Director, said, "In my 26 years in this business, I've never had better service than that I've received from the people of Precor." She continued, "When we just had a few of their AMTs, people would pass up other equipment and wait for them. And Precor's new step-through recumbents are very popular, especially with some of our retired veterans."


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Food Expiration Dates: What Do They Really Mean?
According to the Centers for Disease Control and Prevention (CDC), foodborne diseases cause an estimated 76 million illnesses, 325,000 hospitalizations, and 5,000 deaths in the United States each year. Unfortunately, ]]>foodborne illness]]> (food poisoning) often presents with flu-like symptoms such as nausea, vomiting, and diarrhea, and is dismissed as such. So, while it's true that almost any food can become contaminated if handled improperly, foods that are purchased or used after their expiration dates may be more likely to contain spoilage bacteria or other pathogens that can cause a foodborne illness.
To Toss or Not to Toss
The expiration dates on foods reflect when to buy or use a product at its best quality . So, while you won't necessarily get sick from eating expired food, its freshness and nutrient value may be diminished. Therefore, the trick is to know how long a product is safe to eat after its expiration date. The following tips may help:
The Cupboard
Pantry, or shelf stable (nonperishable) foods, like cereal, baking mixes, and peanut butter may display "best if used by (or before)" dates. These indicate the shelf-life of a product—they tell you when a product is no longer at peak flavor, texture, and appearance. You can safely eat most of these types of foods past their listed date if they've been stored properly, but they may not taste their best or be as nutritious. There are two major categories of pantry foods, unprocessed and processed:
Unprocessed pantry foods : These include pastas, cereal, baking mixes, dry beans, grains, and nuts. If they have been stored unopened, these shelf stable foods should be good to eat indefinitely unless the packaging has been damaged. After opening, store these products in airtight containers to keep out insects, humidity, and other odors, and to keep in flavor.
Processed pantry foods : These are considered shelf stable because they have either been heat treated (canned foods), are a dry formulation (cake mixes), or have reduced water content (dried foods, crackers). The quality of these products should also be fine until opened. But watch out for cans that develop cracks at the seams, bulge, or spurt liquid when opened. These changes may indicate the presence of a bacterium called Clostridium botulinum , the toxin that causes ]]>botulism]]> . If this happens, the cans should be discarded. Note also that certain processed pantry foods must be refrigerated once you've opened them.
To keep these foods at their best quality, store them in clean, dry, cool (below 85°F) cabinets away from the stove or the refrigerator's exhaust.
The Refrigerator
"Sell-By (or Pull)" dates on refrigerated foods like milk and chicken tell stores how long to display the product for sale and take into account additional storage time at home. If possible, it's best to buy a product before this date.
"Use-By" dates indicate the last day recommended for use of a perishable product while at peak quality. Try to avoid buying foods that are already past this date, even though most are generally still safe to eat. Simply check the item first for an off odor, a strange appearance, or an unpleasant flavor.
Here's how to store your perishable foods:
Meat, fish, and poultry : Store meat, fish, and poultry in the coldest part of the refrigerator (generally in the "meat keeper" drawer or toward the back of the bottom shelf), wrapped in foil, leak-proof plastic bags, or airtight containers. Fresh poultry, seafood, and ground or chopped meat can be refrigerated for one to two days before cooking. Fresh red meat, cooked poultry, and meat leftovers can be refrigerated for three to five days, and processed meat products (lunch meats) for three to seven days. Freeze any meat if you won't be using it within these time frames.
Eggs : If you've purchased a carton of eggs before the date expires, you should be able to use them safely for three to five weeks after expiration. Eggs should be stored in their original carton on a shelf, not in the door (where it's not as cold).
Dairy products : Milk, cheese, yogurt, and butter tend to spoil quickly once their dates have passed. Like eggs, these products should be stored on a shelf, not in the door.
Fruits and veggies : Raw fruits and vegetables may last anywhere from a couple days to a few weeks before spoiling. For best quality, store ripe fruit in the refrigerator or you can prepare it and then freeze it. Some dense raw vegetables such as potatoes, onions, and tomatoes can be stored in cabinets at cool room temperatures. Other types of raw vegetable should be refrigerated. After cooking, all vegetables must be refrigerated or frozen within two hours.
Always keep your refrigerator at or just below 40°F. And don't overload the fridge—this prevents air from circulating freely and cooling foods evenly.
The Freezer
According to the Food and Drug Administration (FDA), frozen foods are safe indefinitely, so their expiration dates apply only to quality and nutritional value. But, make sure the items are frozen solid without signs of thawing. Otherwise:
- If you plan to freeze your food, don't wait to do so. Freezing it right away will help keep the product at its peak quality.
- Freeze food in either its original packaging or packed in freezer bags or heavy-duty foil for maximum freshness.
- "Freezer-burned" foods are generally still safe to eat. Cut freezer-burned portions away either before or after cooking the food.
The Countertop
Bakery items (which should have a "sell-by" date) that contain custards, meat, vegetables, or frostings made of cream cheese, whipped cream, or eggs should be kept refrigerated. Any bread product not containing these ingredients, or those that contain eggs but have been baked (like muffins), can safely be kept at room temperature. These foods should be good for about a week. However, if you begin to see signs of mold, they should be tossed.
What to Do If You Suspect a Foodborne Illness
Contaminated foods can cause illness within a few minutes or up to a few days after consumption. Look for symptoms such as fever, headache, chills, vomiting, nausea, irregular heartbeat, or difficulty breathing. While most foodborne illnesses are short-lived and require no medical treatment, others can be serious or even life threatening. If you suspect food poisoning, you should talk to a doctor immediately. This is especially important for pregnant women, young children, the elderly, and immunocompromised people, who are more likely than others to experience severe illness or complications. In addition, any incidence of suspected food poisoning should be reported to your local health department immediately.
The Bottom Line
Regardless of the date on any product always be on the lookout for spoilage. If a food smells funny to you or has something growing on it that you think shouldn't be there, throw it out immediately.
Most foods are not only safe to eat, but are also acceptable in terms of taste, aroma, and appearance beyond the expiration date printed on the label. By following these guidelines, you should be able to determine how long foods are good to eat.
Centers for Disease Control and Prevention (CDC): Health Topic: Foodborne Illnesses
Partnership for Food Safety Education
Dietitians of Canada
Canadian Partnership for Consumer Food Safety Education
Consumer advice. Food and Drug Administration (FDA) website. Available at: http://vm.cfsan.fda.gov/~lrd/advice.html . Accessed July 10, 2003.
Focus on: food product dating. United States Department of Agriculture (USDA) website. Available at: http://www.fsis.usda.gov/OA/pubs/dating.htm . Accessed July 10, 2003.
Foodborne illness. Centers for Disease Control and Prevention (CDC) website. Available at:
http://www.cdc.gov/ncidod/dbmd/diseaseinfo/foodborneinfections_g.htm . Accessed July 10, 2003.
Food storage information. Food Marketing Institute website. Available at: http://www.fmi.org/consumer/foodkeeper/brochure.cfm . Accessed July 10, 2003.
Frequently asked questions about food safety from the USDA Meat and Poultry Hotline. United States Department of Agriculture (USDA) website. Available at: http://www.fsis.usda.gov/OA/FAQ/hotlinefaqindex.htm . Accessed July 10, 2003.
Mead PS, Slutsker L, Dietz V, et al. Food-related illness and death in the United States. Emerging Infectious Diseases. 1999;5:607-625.
Last reviewed May 2009 by ]]> Rosalyn Carson-DeWitt, MD ]]>
Please be aware that this information is provided to supplement the care provided by your physician. It is neither intended nor implied to be a substitute for professional medical advice. CALL YOUR HEALTHCARE PROVIDER IMMEDIATELY IF YOU THINK YOU MAY HAVE A MEDICAL EMERGENCY. Always seek the advice of your physician or other qualified health provider prior to starting any new treatment or with any questions you may have regarding a medical condition.
Copyright © 2007 EBSCO Publishing All rights reserved.


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Osaka, Japan, October 29, 2010 - 2010 Women's Volleyball World Championship Press Conference for Turkey v China:
Turkey coach Mehmet Bedestenlioglu: We have worked very hard to get here. We have done very well tonight. The girls have done everything we asked them to.
Turkey captain Esra Gumus: Today is a great day for my team. We were preparing for this game for a long time. They are one of the strongest teams in the world.
China coach Yu Juemin: The Turkish team is to be congratulated for the high-level volleyball they played tonight. We tried to perform well but did not. Our offense didn't do well. Their No. 16 (Seda Tokatlioglu) and No. 17 (Neslihan Darnel) really excelled on the attack.
China captain Wei Qiuyue: Congratulations to Turkey. We could not stop their spikes. We hope to do better tomorrow.
China player Zhou Suhong: We were not expecting to lose this game tonight. Both our offense and our defense let us down.


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Articles in this Issue
European LIS Curriculum Project
Developing an E-book as an Integrated Process Among 100 Academic Colleagues
Content, Reflections and Curricular Questions
Suzanne Briet: An Appreciation
Leadership is a Chain Reaction
Building IA Means Building Local Groups
Bulletin, December 2006/January 2007
Suzanne Briet: An Appreciation
by Ronald E. Day
Ronald E. Day is an associate professor in the School of Library and Information Science at Indiana University. He can be reached at Roday<at>indiana.edu
Suzanne Briet (1894-1989) was an important figure in European documentation, a movement that, in practical terms, resembled the special libraries movement in the United States, but also, in intellectual terms, anticipated information science. Briet can be seen as a central figure in what we may term the second generation of European documentation. If the first generation is manifest in the work of Paul Otlet (1868-1944), then the second generation is in that of Suzanne Briet, and in particular her small, but important, 1951 book, What Is Documentation? (Quest-ce que la documentation?). It is a revolutionary work, extending the scope of library science and going beyond Otlets emphasis on the book as the major form and figure for information management.
Briet was a professional librarian who created the reference room at the French National Library. She was known as Madame Documentation, and she strongly identified with the documentalist movement. Her vision of documentation and documentation agencies constituted a revision of librarianship and a radical redefinition of what we consider to be documents. In What Is Documentation? Briet argued that documentalists should be embedded in the cultural contexts of the users that they serve. From this vantage point documentalists can not only retrieve documents, but prospect for information not yet asked for, translate information from other languages, abstract and index documents, and in general, proactively work within the dynamics of the advancement of knowledge in a field. Briet also took a broad view of what range of resources should be used. Bibliography, she declared, is no longer concerned with books but with access to evidence. So any object or event that gives evidence of some fact was functionally a document, not just, or foremost, books or other paper sources. This allowed a variety of materials to be brought within the domain of an information service and the work of the documentalist. What Is Documentation? suggests that personal correspondence, semi-published material (grey literature), information provided by telephone, fax and other means, as well as traditional paper and microforms, were all fertile areas for documentary prospecting and management.
One might compare Briets vision of documentation agencies or centers to digital libraries, which handle a variety of objects and forms (in digital formats, of course), thus taking the notion of a library back to an earlier era when libraries were less separate from museums and other similar types of collections. This vision sees documentation centers as concerned with collections of evidential resources of whatever form and material. For Briet, libraries were a type of documentation center, one which gave a privileged place to the form and figure of the book as the central material for library collections and the ideal of documentary forms.
Briet saw documentation centers and documentalists as charged with unifying a wide variety of information sources in a proactive and institutionally embedded manner, translating materials when necessary, and keeping abreast of the researchers work and potential needs before being asked to retrieve information. The notion of culture in her book, while specifically referring to professional and industrial cultures of professional ways of life and vocabulary can also be extended to larger national or ethnic cultures. It can include the need of public libraries or public documentation centers to literally speak the language and understand the ways of life of patrons from different ethnic and linguistic groups and thus to serve them from within, rather than demanding that they come to the physical space of libraries and learn the rather esoteric, technical language of the librarys organization of knowledge, as well as its dominant conversational language.
Briets understanding of documentation or information is based on sociological and cultural understandings of user needs, expressed by ways of life and vocabulary. Her notion of the user is not that of individual needs and psychological satisfactions, but rather, institutional and other cultural needs for the performance of tasks and the answering of questions formulated out of social situations and cultural forms. The satisfaction that comes to the user from the documentalist is a satisfaction of being able to do things with documents in all available media and genres.
Briets writings stressed the importance of cultural forms and social situations and networks in creating and responding to information needs, rather than seeing information needs as inner psychological events. She challenges our common assumptions about the role and activities of information professionals and about the form and nature of documents. She speaks to our age of digital libraries, with their multi-documentary forms, but she also challenges the very conceptual assumptions about the form and the organization of knowledge in such digital libraries. Readers of What Is Documentation? will find themselves returning to Briets book, again and again, coming upon ever new insights into current problems and ever new challenges to still current assumptions about documents and libraries and about the origins, designs and uses of information management and its systems.
Suzanne Briets 1951 book, Quest-ce que la documentation? is available in a complete English translation as What Is Documentation?: English Translation of the Classic French Text (Scarecrow Press, 2006). Through the generous permission of the publisher, the complete book, consisting of the translation of Briets book (translated by Ronald E. Day and Laurent Martinet with Hermina Anghelescu), along with a brief biography and a bibliography of Briets works by Michael Buckland and a commentary by Day, can also be found online at http://ella.slis.indiana.edu/~roday/briet.htm . A link to the original, French edition of Briets book can also be found there, or directly, at http://martinetl.free.fr/briet.pdf
For Further Reading
Additional sources of commentary on Briet and Briets works can be found at the following locations:
Buckland, M. (2006). Suzanne Briet, 1894-1989: "Madame Documentation." Available October 14, 2006, from www.sims.berkeley.edu/~buckland/briet.html. Note: Michael Bucklands Suzanne Briet page.
Discussions of Briet and her ideas can also be found in two articles by Michael Buckland:
What is a document? A preprint of this article is available at www.sims.berkeley.edu/~buckland/whatdoc.html. It was published in the Journal of the American Society of Information Science, v. 48, no. 9 (Sept 1997), pp. 804-809. It is also available online to Wiley Interscience subscribers and subscriber institutions at www.interscience.wiley.com. Also, reprinted in Hahn, T. B. & Buckland, M. (Eds.) (1998). Historical studies in information science. Medford, NJ: Information Today, 215-220.
Information as thing? A preprint of this article is available at www.sims.berkeley.edu/~buckland/thing.html. It was published in the Journal of the American Society of Information Science 42:5 (June 1991), pp. 351-360. It is also available online to Wiley Interscience subscribers and subscriber institutions at www.interscience.wiley.com. This text may vary slightly from the published version.
Maack, M. N. (Pre-press version). The Lady and the Antelope: Suzanne Briet's Contribution to the French Documentation Movement. Available October 14, 2006, from www.gseis.ucla.edu/faculty/maack/BrietPrePress.htm (with photos of Briet).
Fayet-Scribe, S. (2000). Histoire de la documentation en France: culture, science et technologie de linformation: 1895-1937. Paris: CNRS Éditions.
Day, R. (2001). The modern invention of information: discourse, history, and power. Carbondale, IL: Southern Illinois University Press.


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Is The New iPhone 5 Really Worth It?
The latest iPhone 5 S will be available this Friday at Apple stores and online.
Top of the line smartphones are now super fast and have good cameras.
But do you really need the latest, most expensive technology?
ABC Radio News has more on the story.