When the Detroit Red Wings were rebooting their franchise after more than two decades of relative futility, they knew the best place to find world-class players who could turn things around more quickly were conscripted servants behind the Iron Curtain. All they had to do to get them was make history by drafting them and then figure out how to get them out of the Soviet Union.That's when the Wings turned to Keith Gave, the newsman whose clandestine mission to Helsinki, Finland, was the first phase of a years-long series of secret meetings from posh hotel rooms to remote forests around Europe to orchestrate their unlawful departures.One defection created an international incident and made global headlines. Another player faked cancer, thanks to the Wings' extravagant bribes to Russian doctors, including a big American car. Another player who wasn't quite ready to leave yet, felt like he was being kidnapped by an unscrupulous agent. Two others were outcast when they stood up publicly against the Soviet regime, winning their freedom to play in the NHL, only after years of struggle.They are the Russian Five: Sergei Fedorov, Viacheslav Fetisov, Vladimir Konstantinov, Vyacheslav Kozlov, and Igor Larionov. Their stories sound like pulse-pounding spy novels. What unfolded after they were brought together in Detroit by the masterful coach Scotty Bowman is heartwarming and unforgettable.This audiobook includes details never before revealed, and by the man who was there every step of the way - from the day Detroit drafted its first two Soviets in 1989 until they raised the Stanley Cup in 1997, then took it to Moscow for a historic victory lap around Red Square and the Kremlin.The Russian Five did more to bridge Russian and American relations than decades of diplomacy and detente between the White House and the Kremlin. This is their story. 1. Language: English. Narrator: Bob Brill. Audio sample: http://samples.audible.de/bk/acx0/195489/bk_acx0_195489_sample.mp3. Digital audiobook in aax.
ANTI TANK NUN,A BAND CREATED BY TOMEK "TITUS" PUKACKI,THE WELL KNOWN VOCALIST AND BASS GUITARIST OF "ACID DRINKERS",AND THEPHENOMENAL 15 YEAR OLD GUITARIST IGOR "IGGY" GWADERA,RETURN THEIR SOPHOMORE RELEASE ENTITLED "FIRE FOLLOW ME".ANTI TANK NUNWAS A SENSATION ON THE METAL SCENE IN POLAND LAST YEAR,WHEN THEY RELEASED THEIR DEBUT ALBUM "HANG'EM HIGH".WITH THE NEWMATERIAL THEY TAKE ANOTHER STEP FORWARD AS THEY PROMISE THE ALBUM WILL BE MORE MELODIC AND MATURE...!
Count Duckula is a British animated television series created by British studio Cosgrove Hall, and a spin- off from DangerMouse, a show in which the Count Duckula character was a recurring villain. The series first aired on September 6, 1988 and was produced by Thames Television for 3 seasons andCentral Television for the fourth and final series. In all, 65 episodes were made, each about 22 minutes long. All 65 episodes have been released to DVD in Region 2, while only the first series has been released in Region 1. Both the series as well as its characters continue to have a large following on the internet. The show is a loose parody of the story of Count Dracula. Set in Transylvania, Duckula lives in a spooky castle known as Castle Duckula, alongside hisbutler Igor, and his large nanny (always referred to as "Nanny" and perpetually wearing an arm sling). Almost all of the characters in the show areanthropomorphised birds.
Thisedited three volume edition brings together significant papers previouslypublished in the Journal of information Technology (JIT) over its 30 yearpublication history. The three volumes of EnactingResearch Methods in Information Systems celebrate the methodologicalpluralism used to advance our understanding of information technology's role inthe world today. In addition to quantitative methods from the positivisttradition, JIT also values methodological articles from critical research perspectives,interpretive traditions, historical perspectives, grounded theory, and actionresearch and design science approaches.Volume1 covers Critical Research, Grounded Theory, and Historical Approaches. Volume2 deals with Interpretive Approaches and also explores Action Research. Volume3 focuses on Design Science Approaches and discusses Alternative Approaches includingSemiotics Research, Complexity Theory and Gender in IS Research.The Journal of Information Technology (JIT) was started in 1986 by Professors FrankLand and Igor Aleksander with the aim of bringing technology and managementtogether and bridging the 'great divide' between the two disciplines. TheJournal was created with the vision of making the impact of complexinteractions and developments in technology more accessible to a wideraudience. Retaining this initial focus, the JIT has gone on to extend into newand innovative areas of research such as the launch of JITTC in 2010. A highimpact journal, JIT shall continue to publish leading trends based onsignificant research in the field.
This edited three volume edition brings together significant papers previously published in the Journal of information Technology (JIT) over its 30 year publication history. The three volumes of Enacting Research Methods in Information Systems celebrate the methodological pluralism used to advance our understanding of information technology's role in the world today. In addition to quantitative methods from the positivist tradition, JIT also values methodological articles from critical research perspectives, interpretive traditions, historical perspectives, grounded theory, and action research and design science approaches.Volume 1 covers Critical Research, Grounded Theory, and Historical Approaches. Volume 2 deals with Interpretive Approaches and also explores Action Research. Volume 3 focuses on Design Science Approaches and discusses Alternative Approaches including Semiotics Research, Complexity Theory and Gender in IS Research.The Journal of Information Technology (JIT) was started in 1986 by Professors Frank Land and Igor Aleksander with the aim of bringing technology and management together and bridging the 'great divide' between the two disciplines. The Journal was created with the vision of making the impact of complex interactions and developments in technology more accessible to a wider audience. Retaining this initial focus, the JIT has gone on to extend into new and innovative areas of research such as the launch of JITTC in 2010. A high impact journal, JIT shall continue to publish leading trends based on significant research in the field.
Research Paper (undergraduate) from the year 2012 in the subject Business economics - Marketing, Corporate Communication, CRM, Market Research, Social Media, , language: English, abstract: Plings are decorative static clings for temporary, seasonal decoration of tableware. Plings is a word made up from combining 'plastic' and 'clings'. Plings is also the name of the company, which is a subsidiary of I.Et.Al, Marketing and Design Company in Memphis, Tennessee. Plings were conceived, created and trademarked in 2009, and are offered for sale at Plings.com. Plings have also been offered for sale at several retail boutique stationery stores in the greater Memphis area. Plings can be ordered from the online web site, and orders are fulfilled by I.Et.Al employees from stock on hand.Plings are packages of small, stylish seasonal and holiday decorations for everyday tableware. Plings can be placed on plates in place settings, used as wine charms, and to decorate cups and glasses. Plings can be removed and stored for future reuse, or discarded. Plings are in the introduction stage of product development and it is necessary to create and then increase customer awareness. Plings are uniquely situated to initially create and supply the market. The brand name is distinctive, catchy, fun sounding, and means what it is. These are all great features of a great brand name (Igor, 2012).Each Plings pack contains sufficient product to minimally decorate eight two-piece place settings for about a dollar each, or four five-piece place settings for about two dollars each. The decision to set the price of a Plings pack at $8.95 places the product as a much less expensive alternative to specialized holiday tableware settings or as compared to purchasing disposable plates and cups. Consumer demand will grow as customers realize they can leverage the investment in their existing tableware. The product is appealing to home makers, caterers and party planners wanting to make a festive impact extending their existing stock of tableware. The viability of the product is currently limited by the lack of customer awareness. Promotion of Plings must be amplified to create and build customer awareness and guide them to the Plings web site to buy the product. Expansion of the existing web site should focus on means of leveraging social media to drive customer awareness.
In 1996, the Russian Federation became a member of the Council of Europe. Two years later, the Russian parliament ratified the Council&#8217;s major document&#8212;the European Convention on Human Rights (ECHR). These papers were presented at a conference at Yekaterinburg in spring 2001. The collection represents a snapshot of Russian and Western approaches to human rights protection at a moment when Russia was going through an adaptation of the political system created by Boris Yeltsin to the new modes of state-society relations being introduced by Vladimir Putin. Contents: Sergey Alexeyev on human rights and Modernity; Rainer Arnold on the EU Charter of Fundamental Rights; Valery Mikhailenko on ethnic separatism; Julia Kharlamova on the impossibility of an ECHR-implementation in Russia; Yekaterina Khodzhayeva on human rights discourses in Tatarstan&#8217;s mass media; Anatoly Azarov on the Russians&#8217; knowledge about the ECHR; Manja Hussner on the incorporation of international treaties into Russian law; Marat Salikov on the Constitutional Court; Anton Burkov on the detention of mentally ill persons; Igor Shirmanov on ambiguities in Russian legal norms; Olga Selikhova on human rights issues in the regions; Olga Aleksenko on the Human Rights Commission of Rostov; Yelena Goncharova on the right to a fair trial; Tatyana Gladkova on the Sverdlovsk Oblast Ombudsman; Andrey Lyamzin on Yekaterinburg&#8217;s detention system; Andreas Umland with Oxana Stouppo on Western policies towards Russia.
NEW YORK TIMES BESTSELLER &#8226; NATIONAL BOOK CRITICS CIRCLE AWARD FINALIST NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY MICHIKO KAKUTANI, THE NEW YORK TIMES &#8226; NAMED ONE OF THE TEN BEST NONFICTION BOOKS OF THE YEAR BY TIME NAMED ONE OF THE BEST BOOKS OF THE YEAR BY MORE THAN 45 PUBLICATIONS, INCLUDING The New York Times Book Review &#8226; The Washington Post &#8226; NPR &#8226; The New Yorker &#8226; San Francisco Chronicle &#8226; The Economist &#8226; The Atlantic &#8226; Newsday &#8226; Salon &#8226; St. Louis Post-Dispatch &#8226; The Guardian &#8226; Esquire (UK) &#8226; GQ (UK) After three acclaimed novels, Gary Shteyngart turns to memoir in a candid, witty, deeply poignant account of his life so far. Shteyngart shares his American immigrant experience, moving back and forth through time and memory with self-deprecating humor, moving insights, and literary bravado. The result is a resonant story of family and belonging that feels epic and intimate and distinctly his own. Born Igor Shteyngart in Leningrad during the twilight of the Soviet Union, the curious, diminutive, asthmatic boy grew up with a persistent sense of yearning-for food, for acceptance, for words-desires that would follow him into adulthood. At five, Igor wrote his first novel, Lenin and His Magical Goose, and his grandmother paid him a slice of cheese for every page. In the late 1970s, world events changed Igor's life. Jimmy Carter and Leonid Brezhnev made a deal: exchange grain for the safe passage of Soviet Jews to America-a country Igor viewed as the enemy. Along the way, Igor became Gary so that he would suffer one or two fewer beatings from other kids. Coming to the United States from the Soviet Union was equivalent to stumbling off a monochromatic cliff and landing in a pool of pure Technicolor. Shteyngart's loving but mismatched parents dreamed that he would become a lawyer or at least a 'conscientious toiler' on Wall Street, something their distracted son was simply not cut out to do. Fusing English and Russian, his mother created the term Failurchka-Little Failure-which she applied to her son. With love. Mostly. As a result, Shteyngart operated on a theory that he would fail at everything he tried. At being a writer, at being a boyfriend, and, most important, at being a worthwhile human being. Swinging between a Soviet home life and American aspirations, Shteyngart found himself living in two contradictory worlds, all the while wishing that he could find a real home in one. And somebody to love him. And somebody to lend him sixty-nine cents for a McDonald's hamburger. Provocative, hilarious, and inventive, Little Failure reveals a deeper vein of emotion in Gary Shteyngart's prose. It is a memoir of an immigrant family coming to America, as told by a lifelong misfit who forged from his imagination an essential literary voice and, against all odds, a place in the world. Praise for Little Failure 'Hilarious and moving . . . The army of readers who love Gary Shteyngart is about to get bigger.'-The New York Times Book Review 'A memoir for the ages . . . brilliant and unflinching.'-Mary Karr 'Dazzling . . . a rich, nuanced memoir . . . It's an immigrant story, a coming-of-age story, a becoming-a-writer story, and a becoming-a-mensch story, and in all these ways it is, unambivalently, a success.'-Meg Wolitzer, NPR 'Literary gold . . . bruisingly funny.'-Vogue 'A giant success.'-Entertainment Weekly
Igor Stravinsky and George Balanchine, among the most influential artists of the twentieth century, together created the music and movement for many ballet masterpieces. This engrossing book is the first full-length study of one of the greatest artistic collaborations in history. Drawing on extensive new research, Charles M. Joseph discusses the Stravinsky-Balanchine ballets against a rich contextual backdrop. He explores the background and psychology of the two men, the dynamics of their interactions, their personal and professional similarities and differences, and the political and historical circumstances that conditioned their work. He describes the dancers, designers, and sponsors with whom they worked. He explains the two men's approach to the creative process and the genesis of each of the collaborative ballets, demolishing much received wisdom on the subject. And he analyzes selected sections of music and dance, providing examples of Stravinsky's working sketches and other helpful illustrative materials. Engagingly written, the book will be of great interest not only to music and dance historians but also to ballet lovers everywhere.