Preserving \u27His Masters\u27 Voice\u27: the archival significance of master recordings

Master recordings as products created by the music industry are some of the greatest time capsules in American culture. Throughout the history of the music industry master recordings received little attention and were not appreciated for the informational and evidential values held within the recordings. American archival theory provides the solution to help prevent the loss of master recordings and hence the loss of a piece of America\u27s culture. Through archival preservation and partnerships between record companies and independent archives, master recordings and the American culture contained within them have a better chance than ever of surviving for many years to come

Unprecedented access? Women instrumentalists in punk bands 1976-1984: an exploration

This study has been undertaken because of a gap in popular music and subcultural history. The significance of the first large influx of women into rock music, as punk instrumentalists in the late 1970s, has been underplayed; instead, women punks have been stereotypically documented. Girls' and womens' roles as producers of music, and their consequent contribution to the sound of punk music, have been subjected to a collective amnesia. Four areas of literature have been reviewed to clarify the reasons for, and extent of the gap: writings on subcultures and scenes, writings on women in rock and pop, writings on the socio-political context, and writings on punk. One of the main foci of the study has been to identify the reasons for the fading away of the presence of women instrumentalists in the early 1980s. I wanted to discover why this phenomenon had such a short time span. The primary research involved a newspaper survey (300 local papers were contacted across Britain) from which 24 useful questionnaires were gleaned; I interviewed 15 women who were in bands at the time, as well as a radio DJ, record company owner, band manager, and several male band members and political activists from the scene. Fanzines, music papers and the feminist magazine Spare Rib have also been referred to extensively. I have also had my own recollections of the time to draw upon. Following the literature review, the study is divided into sections on Access (enabling and empowering factors), Media Gatekeepers and Cultural Intermediaries (external controls and filters), The Brighton Scene (a case study of my own local punk envirom-nent), Noise, Violence and Femininity (the practice of music making by these women, and the resistance to it), the Aftermath (exploring factors contributing to the ending of the moment), and Conclusions

BIG DATA AND ANALYTICS AS A NEW FRONTIER OF ENTERPRISE DATA MANAGEMENT

Big Data and Analytics (BDA) promises significant value generation opportunities across industries. Even though companies increase their investments, their BDA initiatives fall short of expectations and they struggle to guarantee a return on investments. In order to create business value from BDA, companies must build and extend their data-related capabilities. While BDA literature has emphasized the capabilities needed to analyze the increasing volumes of data from heterogeneous sources, EDM researchers have suggested organizational capabilities to improve data quality. However, to date, little is known how companies actually orchestrate the allocated resources, especially regarding the quality and use of data to create value from BDA. Considering these gaps, this thesis – through five interrelated essays – investigates how companies adapt their EDM capabilities to create additional business value from BDA. The first essay lays the foundation of the thesis by investigating how companies extend their Business Intelligence and Analytics (BI&A) capabilities to build more comprehensive enterprise analytics platforms. The second and third essays contribute to fundamental reflections on how organizations are changing and designing data governance in the context of BDA. The fourth and fifth essays look at how companies provide high quality data to an increasing number of users with innovative EDM tools, that are, machine learning (ML) and enterprise data catalogs (EDC). The thesis outcomes show that BDA has profound implications on EDM practices. In the past, operational data processing and analytical data processing were two “worlds” that were managed separately from each other. With BDA, these "worlds" are becoming increasingly interdependent and organizations must manage the lifecycles of data and analytics products in close coordination. Also, with BDA, data have become the long-expected, strategically relevant resource. As such data must now be viewed as a distinct value driver separate from IT as it requires specific mechanisms to foster value creation from BDA. BDA thus extends data governance goals: in addition to data quality and regulatory compliance, governance should facilitate data use by broadening data availability and enabling data monetization. Accordingly, companies establish comprehensive data governance designs including structural, procedural, and relational mechanisms to enable a broad network of employees to work with data. Existing EDM practices therefore need to be rethought to meet the emerging BDA requirements. While ML is a promising solution to improve data quality in a scalable and adaptable way, EDCs help companies democratize data to a broader range of employees

Free Winona: Back to School

Free Winona is a newspaper published in Winona, Minnesota in 2008 and 2009. This issue includes: Corporatization of Universities; Beehive Collective/GrassRoutes Bike Caravan Presents at Free Market; 12 Things Students Can Do To Help; Unschooling at the Winona Farm; Backmatter: Resistance to the Republican National Conventionhttps://openriver.winona.edu/freewinona/1021/thumbnail.jp

Unprecedented access? : women instrumentalists in punk bands 1976-1984 : an exploration

This study has been undertaken because of a gap in popular music and subcultural history. The significance of the first large influx of women into rock music, as punk instrumentalists in the late 1970s, has been underplayed; instead, women punks have been stereotypically documented. Girls' and womens' roles as producers of music, and their consequent contribution to the sound of punk music, have been subjected to a collective amnesia. Four areas of literature have been reviewed to clarify the reasons for, and extent of the gap: writings on subcultures and scenes, writings on women in rock and pop, writings on the socio-political context, and writings on punk. One of the main foci of the study has been to identify the reasons for the fading away of the presence of women instrumentalists in the early 1980s. I wanted to discover why this phenomenon had such a short time span. The primary research involved a newspaper survey (300 local papers were contacted across Britain) from which 24 useful questionnaires were gleaned; I interviewed 15 women who were in bands at the time, as well as a radio DJ, record company owner, band manager, and several male band members and political activists from the scene. Fanzines, music papers and the feminist magazine Spare Rib have also been referred to extensively. I have also had my own recollections of the time to draw upon. Following the literature review, the study is divided into sections on Access (enabling and empowering factors), Media Gatekeepers and Cultural Intermediaries (external controls and filters), The Brighton Scene (a case study of my own local punk envirom-nent), Noise, Violence and Femininity (the practice of music making by these women, and the resistance to it), the Aftermath (exploring factors contributing to the ending of the moment), and Conclusions.EThOS - Electronic Theses Online ServiceGBUnited Kingdo