And one does get a lot more for their money. In an average hotel or motel room, you’ve got one or two beds, a television at the foot of the bed, and maybe, if you’re lucky, a minibar filled with thing that will cost you $10 just to take the cap off. In an midsize RV however, there’s a private bedroom, possibly with a television.
While the riots that have taken place in the UK over the past few nights are not on the same scale as the 2005 violence in France, there are lessons to be learned from the French experience. Of course riots are, by their very nature, unique: every set of riots is the product of a particular combination of causal and contextual factors that may vary significantly from event to event. Yet riots often have common features that make their life cycle a familiar one.
That my boy. We reunited October 20 at his brother house in Union, New Jersey. It was great to see him. About Event MarketingEvent marketing involves a themed activity, exhibit or display to promote a product, service or organization. The purpose of event marketing is to motivate consumers and create advocates of the brand. Some people refer to event marketing as live marketing or experiential marketing.
Carl Anthony is an architect, regional planner, environmental justice pioneer, and a committed social activist. As the founding director of one of the nation’s first environmental justice organizations, Urban Habitat, he led efforts to prod mainstream environmental movements to confront issues of race and class and to understand the dynamic intersections between them. Carl founded and edited the journal Race, Poverty, and the Environment.
According to Morgan’s biography, the room had no microphone and was “unseasonably warm,” so windows were open and Maugham had to compete with noise from the street. Edman concluded the evening by saying, “Some day, soon in the future, when the students assembled here reminisce of their college days, they will smile and mention that they studied philosophy at Columbia under W. Somerset Maugham.”.
Truth is, making music in New Orleans has, historically, often meant a marginal living; the flood exacerbated this reality, submerging not just homes but careers and a good chunk of the local music business. Around Katrina’s second anniversary, a “Musicians Solidarity Second Line” featured dozens of musicians carrying, but not using, their instruments: not a note played, not a step danced. A slow, steady rain lent dramatic drips to homemade signs reading “Living Wages = Living Music” and “Imagine a Silent NOLA.” Even those who’ve surmounted financial hurdles often encounter a more insidious challenge: the sense that they’re not exactly welcome back.