George Morgan

George Morgan

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Affiche du document Backline, Vol. 56 — Backline, Vol. 56
The Moe Koffman Quartette
Pop / Rock

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Affiche du document Backline, Vol. 254 — Backline, Vol. 254
Birdie Green
Pop / Rock

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Affiche du document More Kisses — More Kisses
Faron Young
Folk rock & country

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Affiche du document Let's Throw a Pajama Party, Vol. 1 — Let's Throw a Pajama Party, Vol. 1
Bob Keene
Pop / Rock

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Affiche du document Get Out Those Old Records — Get Out Those Old Records
Mary Martin & Larry Hagman
Folk rock & country

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Affiche du document Christmas Around the World — Christmas Around the World
Haven Gillaspie
Classique

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Affiche du document Christmas Time's A-Comin' - A Hillbilly Christmas — Christmas Time's A-Comin' - A Hillbilly Christmas
Jimmy Martin
Folk rock & country

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Affiche du document Uncle Art Satherley: Country Music's Founding Father — Uncle Art Satherley: Country Music's Founding Father
Lefty Frizzell
Folk rock & country

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Affiche du document 75 Golden Country Hits — 75 Golden Country Hits
Johnny Cash
Folk rock & country

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Affiche du document Hillbilly Jukebox — Hillbilly Jukebox
Wynn Stewart
Folk rock & country

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Affiche du document The Creativity Hoax — The Creativity Hoax
George Morgan
1h36min45
Sciences humaines et sociales
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129 pages. Temps de lecture estimé 1h37min.
Creativity, the leitmotif of new capitalism, has become a key neo-liberal idiom for reorganizing work and working life.Politicians, educators and business leaders often tell young people they will need to develop their creative skills to be ready for the new economy. Vast numbers of school leavers enrol in courses in media, communications, creative and performing arts, yet few will ever achieve the creative careers they aspire to. The big cities are filled with performers, designers, producers and writers who cannot make a living from their art/craft. They are told their creative skills are transferable but there is little available work outside retail, service and hospitality jobs. Actors can use their skills selling phone plans, insurance or advertising space from call centres, but usually do so reluctantly. Most people in the ‘creative industries’ work as low-paid employees or freelancers, or as unpaid interns. They put up with exploitation so that they can do what they love. The Creativity Hoax argues that in this individualistic and competitive environment, creative aspirants from poor and minority backgrounds are most vulnerable and precarious. Although governments in the West stress the importance of culture and knowledge in economic renewal, few invest in the support and infrastructure that would allow creative aspirants to make best use of their skills.Preface: Rustbelt Aspirational; Acknowledgements; Introduction; Chapter 1: The Creative Imperative: Remaking Capital/ Remaking Labour; Chapter 2: Post-Industrial Pedagogy; Chapter 3: Leaving Covers- Land: The Metropolitan Journey and the Creative Network; Chapter 4: Do Give Up Your Day Job; Chapter 5: Labile Labour; Chapter 6: The Just- In- Time Self ?; Chapter 7: Beyond the Social Factory: Reclaiming the Commons; Conclusion: Don’t Call Us, We’ll Call You; Bibliography; Index.

The Creativity Hoax
George Morgan
1h36min45
Sciences humaines et sociales
Youscribe plus

129 pages. Temps de lecture estimé 1h37min.
Creativity, the leitmotif of new capitalism, has become a key neo-liberal idiom for reorganizing work and working life.Politicians, educators and business leaders often tell young people they will need to develop their creative skills to be ready for the new economy. Vast numbers of school leavers enrol in courses in media, communications, creative and performing arts, yet few will ever achieve the creative careers they aspire to. The big cities are filled with performers, designers, producers and writers who cannot make a living from their art/craft. They are told their creative skills are transferable but there is little available work outside retail, service and hospitality jobs. Actors can use their skills selling phone plans, insurance or advertising space from call centres, but usually do so reluctantly. Most people in the ‘creative industries’ work as low-paid employees or freelancers, or as unpaid interns. They put up with exploitation so that they can do what they love. The Creativity Hoax argues that in this individualistic and competitive environment, creative aspirants from poor and minority backgrounds are most vulnerable and precarious. Although governments in the West stress the importance of culture and knowledge in economic renewal, few invest in the support and infrastructure that would allow creative aspirants to make best use of their skills.Preface: Rustbelt Aspirational; Acknowledgements; Introduction; Chapter 1: The Creative Imperative: Remaking Capital/ Remaking Labour; Chapter 2: Post-Industrial Pedagogy; Chapter 3: Leaving Covers- Land: The Metropolitan Journey and the Creative Network; Chapter 4: Do Give Up Your Day Job; Chapter 5: Labile Labour; Chapter 6: The Just- In- Time Self ?; Chapter 7: Beyond the Social Factory: Reclaiming the Commons; Conclusion: Don’t Call Us, We’ll Call You; Bibliography; Index.

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Affiche du document The Deluxe Collection (Remastered) — The Deluxe Collection (Remastered)
George Morgan
Folk rock & country

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Affiche du document The Columbia Singles Collection (1949-1964) — The Columbia Singles Collection (1949-1964)
George Morgan
Folk rock & country

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Affiche du document Slippin' Around — Slippin' Around
George Morgan
Pop / Rock

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Affiche du document Country's Greatest Hits (The Essential Country Music Album Vol. 1) — Country's Greatest Hits (The Essential Country Music Album Vol. 1)
Johnny Cash
Folk rock & country

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