Agricultural Communications Documentation Center, Funk Library, University of Illinois Document Number: C37163
Notes:
Posted at http://ottawa.ctv.ca/servlet/an/local/CTVNews/20111223/food-safety-freshness-best-before-dates-111226/20111226/?hub=OttawaHome, Via CTV News, Ottawa, Canada. 2 pages.
Agricultural Communications Documentation Center, Funk Library, University of Illinois Box: 185 Document Number: D00591
Notes:
Via blog site. 9 pages., Author describes a proposed clearinghouse for data from state, county and municipal governments in North Carolina to serve nine rural newspapers.
Via online. 2 pages., How an extension team uses animated "climate dog" characters to show farmers how Victoria's four main climate drivers work to "round up" or scatter storm clouds over the state.
In 2008, a new style in Jamaican dancehall music and dance culture known as "Daggering" emerged. Daggering music and dancing, which included lyrics that graphically referred to sexual activities and a dance which has been described as "dry sex" on the dance floor, took Jamaica by storm. The Broadcasting Commission of Jamaica was forced to crack down on broadcasting and cable stations preventing them from playing any Daggering content. This article focuses on the subsequent clash between the government and the dancehall, and seeks to identify an appropriate method for monitoring and enforcing these new standards.
263 p., Focuses on the writing and thinking of W.E.B. Du Bois and Zora Neale Hurston in order to explore the continuing effects of the legacy of enslavement as well as question the need for entre nous black spaces in the twenty-first century. In pairing Du Bois with Hurston, the author considers the difficulties of entre nous speaking along generational lines, gender differences, and regional affiliations. Though their writing and speaking differed, as scholars and artists they resisted the demands of the minstrel mask to produce a body of work that subverted dominant culture's devaluation of black folk responses to ongoing racial terror and dehumanization. Hurston and Du Bois did this while trying to conceptualize what a black "us" in the United States and in the black diaspora in the Americas entailed and what, if anything, exists between the "us."
Argues that the emergence of hip hop in the South Bronx can be explained by the way in which several social-political factors dictated by the needs of the world economy converged with the resistance and labor of black people in the United States and the Anglo-Caribbean in the late 1960s and early 1970
