Timothy West stars as British prime minister Winston Churchill in this BBC drama focusing on the relationship with his generals during pivotal moments of the Second World War. Set in Churchill's Cabinet Office and War Rooms, the programme follows Britain's leader orchestrating the allied war effort alongside some of his influential appointments including Generals Montgomery (Ian Richardson) and Brooke (Eric Porter). Following America's decision to enter the conflict late in 1941, Churchill and his cabinet received the support of President Franklin D. Roosevelt (Arthur Hill) and his trusted generals, Marshall (Joseph Cotten) and Eisenhower (Richard Dysart).

The contributors to Playing for Keeps examine the ways in which musical improvisation can serve as a method for negotiating violence, trauma, systemic inequality, and the aftermaths of war and colonialism. Outlining the relation of improvisatory practices to local and global power structures, they show how in sites as varied as South Africa, Canada, Egypt, the United States, and the Canary Islands, improvisation provides the means for its participants to address the past and imagine the future. In addition to essays, the volume features a poem by saxophonist Matana Roberts, an interview with pianist Vijay Iyer about his work with U.S. veterans of color, and drawings by artist Randy DuBurke that chart Nina Simone's politicization. Throughout, the contributors illustrate how improvisation functions as a model for political, cultural, and ethical dialogue and action that can foster the creation of alternate modes of being and knowing in the world. Contributors. Randy DuBurke, Rana El Kadi, Kevin Fellezs, Daniel Fischlin, Kate Galloway, Reem Abdul Hadi, Vijay Iyer, Mark Lomanno, Moshe Morad, Eric Porter, Sara Ramshaw, Matana Roberts, Darci Sprengel, Paul Stapleton, Odeh Turjman, Stephanie Vos

With "New Orleans Suite, " Eric Porter and Lewis Watts join the post-Katrina conversation about New Orleans and its changing cultural scene. Using both visual evidence and the written word, Watts and Porter pay homage to the city, its region, and its residents, by mapping recent and often contradictory social and cultural transformations, and seeking to counter inadequate and often pejorative accounts of the people and place that give New Orleans its soul. Focusing for the most part on the cityOCOs African American community, "New Orleans Suite" is a story about people: how bad things have happened to them in the long and short run, how they have persevered by drawing upon and transforming their cultural practices, and what they can teach us about citizenship, politics, and society.

An illuminating profile of the San Francisco Bay Area, and its regional and global influence, as seen from the focal point of San Francisco International Airport (SFO). A People's History of SFO uses the history of San Francisco International Airport (SFO) to tell a multifaceted story of development, encounter, and power in the surrounding region from the eighteenth century to the present. In lively, engaging stories, Eric Porter reveals SFO's unique role in the San Francisco Bay Area's growth as a globally connected hub of commerce, technology innovation, and political, economic, and social influence. Starting with the very land SFO was built on, A People's History of SFO sees the airport as a microcosm of the forces at work in the Bay Area-from its colonial history and early role in trade, mining, and agriculture to the economic growth, social sanctuary, and environmental transformations of the twentieth century. In ways both material and symbolic, small human acts have overlapped with evolving systems of power to create this bustling metropolis. A People's History of SFO ends by addressing the climate crisis, as sea levels rise and threaten SFO itself on the edge of San Francisco Bay.

The contributors to Playing for Keeps examine the ways in which musical improvisation can serve as a method for negotiating violence, trauma, systemic inequality, and the aftermaths of war and colonialism. Outlining the relation of improvisatory practices to local and global power structures, they show how in sites as varied as South Africa, Canada, Egypt, the United States, and the Canary Islands, improvisation provides the means for its participants to address the past and imagine the future. In addition to essays, the volume features a poem by saxophonist Matana Roberts, an interview with pianist Vijay Iyer about his work with U.S. veterans of color, and drawings by artist Randy DuBurke that chart Nina Simone's politicization. Throughout, the contributors illustrate how improvisation functions as a model for political, cultural, and ethical dialogue and action that can foster the creation of alternate modes of being and knowing in the world. Contributors. Randy DuBurke, Rana El Kadi, Kevin Fellezs, Daniel Fischlin, Kate Galloway, Reem Abdul Hadi, Vijay Iyer, Mark Lomanno, Moshe Morad, Eric Porter, Sara Ramshaw, Matana Roberts, Darci Sprengel, Paul Stapleton, Odeh Turjman, Stephanie Vos

URBAN WATER INFRASTRUCTURE NATO ADVANCED RESEARCH WORKSHOP SUMMARY 22-27 JUNE 1989 KYLE E SCHILLING P E Workshop Director The Workshop was based on the recognition that all NATO countries are concerned with similar water infrastructure issues. Present problems are aggravated by aging and neglected facilities, by inadequate financing and by water management institutions reflecting the needs of an earlier era. Service needs to be provided for expanding populations, at the same time that corrective measures must be taken for decaying older urban centers, resulting both from neglect and expiring service life. These needs exist within the framewode of other competing and conflicting uses for existing and yet to be developed water sources. The problems have generated some highly visible national debates over financing due to the large sums involved. Despite differences in the age of the North American, European and other societies, the technological ages of water supply and storm water systems are much the same and provide a common denominator in the worldwide trend to urbanization. Examination of approaches to urban water management also indicates that they are generally based on past experience and institutions created in a non-urban era. The physical, financial and institutional alternatives are consequently often out-of-step with current urban environment. Historically, the supply of adequate water and efficient storm water management have also been top priority items with water quality and other aspects of environmental protection assuming a lower priority after basic supply needs have been met.

"Among the many books on the history of jazz. . . an implicit division of labor has solidified, whereby black artists play and invent while white writers provide the commentary. . . . Eric Porter's brilliant book seeks to trace the ways in which black jazz musicians have made verbal sense of their accomplishments, demonstrating the profound self-awareness of the artists themselves as they engaged in discourse about their enterprise."--Susan McClary, author of "Conventional Wisdom: The Content of Musical Form

"With What Is This Thing Called Jazz Eric Porter has given us an original portrait of black musicians as creators, thinkers and politically conscious individuals. This well-written, thoroughly researched work is a model of a new kind of scholarship about African American musicians: one that shows them as people who are both shaped by and actively shaping their political and social context. One of the book's most important contributions is that it takes seriously what the musicians themselves say about the music and allows their voices to join that of critics and musicologists in helping to construct a critical and philosophical framework for analyzing the music. Professor Porter's work is rare in it's balanced attention to the formal qualities of the music, historical interpretation and theoretical reflection. His is a work that will certainly shape the direction of future studies. "What Is This Thing Called Jazz? is an extraordinary work."--Farah Jasmine Griffin, author of "If You Can't Be Free, Be a Mystery: In Search of Billie Holiday

"A major contribution to American Studies in music, Eric Porter's lucidly written book is the first to thoroughly analyze and contextualizethe critical, historical and aesthetic writings of some of today's most innovative composer-performers. Placing the vital concerns of artists at the center, this work provides academic and lay readers alike with important new insights on how African-American musicians sought to realize ambitious dreams and concrete goals through direct action--not only in sound, but through building alternative institutions that emphasized the importance of community involvement."--George E. Lewis, Professor of Music, Critical Studies/Experimental Practices Area University of California, San Diego

The Problem of the Future World is a compelling reassessment of the later writings of the iconic African American activist and intellectual W. E. B. Du Bois. As Eric Porter points out, despite the outpouring of scholarship devoted to Du Bois, the broad range of writing he produced during the 1940s and early 1950s has not been thoroughly examined in its historical context, nor has sufficient attention been paid to the theoretical interventions he made during those years. Porter locates Du Bois's later work in relation to what he calls "the first postracial moment." He suggests that Du Bois's midcentury writings are so distinctive and so relevant for contemporary scholarship because they were attuned to the shape-shifting character of modern racism, and in particular to the ways that discredited racial taxonomies remained embedded and in force in existing political-economic arrangements at both the local and global levels. Porter moves the conversation about Du Bois and race forward by building on existing work about the theorist, systematically examining his later writings, and looking at them from new perspectives, partly by drawing on recent scholarship on race, neoliberalism, and empire. The Problem of the Future World shows how Du Bois's later writings help to address race and racism as protean, global phenomena in the present.

With "New Orleans Suite, " Eric Porter and Lewis Watts join the post-Katrina conversation about New Orleans and its changing cultural scene. Using both visual evidence and the written word, Watts and Porter pay homage to the city, its region, and its residents, by mapping recent and often contradictory social and cultural transformations, and seeking to counter inadequate and often pejorative accounts of the people and place that give New Orleans its soul. Focusing for the most part on the cityOCOs African American community, "New Orleans Suite" is a story about people: how bad things have happened to them in the long and short run, how they have persevered by drawing upon and transforming their cultural practices, and what they can teach us about citizenship, politics, and society.

Sound Changes responds to a need in improvisation studies for more work that addresses the diversity of global improvisatory practices and argues that by beginning to understand the particular, material experiences of sonic realities that are different from our own, we can address the host of other factors that are imparted or sublimated in performance. These factors range from the intimate affect associated with a particular performer's capacity to generate a distinctive "voicing," or the addition of an unexpected sonic intervention only possible with one particular configuration of players in a specific space and time. Through a series of case studies drawn from Africa, Asia, the Americas, and Oceania, Sound Changes offers readers an introduction to a range of musical expressions across the globe in which improvisation plays a key role and the book demonstrates that improvisation is a vital site for the production of emergent social relationships and meanings. As it does this work, Sound Changes situates the increasingly transcultural dimensions of improvised music in relation to emergent networks and technologies, changing patterns of migration and immigration, shifts in the political economy of music, and other social, cultural, and economic factors.Improvisation studies is a recently developed, but growing, interdisciplinary field of study. The discipline-which has only truly come into focus in the early part of the twenty-first century-has been building a lexicon of key terms and developing assumptions about core practices. Yet, the full breadth of improvisatory practices has remained a vexed, if not impossibly ambitious, subject of study. This volume offers a step forward in the movement away from critical tendencies that tend to homogenize and reduce practices and vocabularies in the name of the familiar.