This book traces a century of militarised communication that began in the United States in April, 1917, with the institution of the Committee on Public Information (CPI), headed by George Creel and tasked with persuading a divided US public to enter World War I. Creel achieved an historic feat of communication: a nationalising mass mediation event well before any instantaneous mass media technologies were available. The CPI's techniques and strategies have underpinned marketing, public relations, and public diplomacy practices ever since. The book argues that the CPI's influence extends unbroken into the present day, as it provided the communicative and attitudinal bases for a new form of political economy, a form of corporatism, that would come to its fullest flower in the "globalisation" project of the mid-1990s.

This book traces a century of militarised communication that began in the United States in April, 1917, with the institution of the Committee on Public Information (CPI), headed by George Creel and tasked with persuading a divided US public to enter World War I. Creel achieved an historic feat of communication: a nationalising mass mediation event well before any instantaneous mass media technologies were available. The CPI's techniques and strategies have underpinned marketing, public relations, and public diplomacy practices ever since. The book argues that the CPI's influence extends unbroken into the present day, as it provided the communicative and attitudinal bases for a new form of political economy, a form of corporatism, that would come to its fullest flower in the "globalisation" project of the mid-1990s.

This collection of interviews captures a period of historic change for the global music business along with a wealth of professional knowledge that extends from the late 1960s through to late 2012 when the interviews were conducted. They record the experiences and insights of people who helped to shape a global business that is quickly passing into history and transforming into something entirely new, often because of decisions the interviewees have been directly involved in making. The material includes the aesthetic, artistic, technical, commercial, legal, and strategic aspects of the music industry. What is said is timeless in its historical significance for the music business and in its relevance for researchers engaged in studies on the dynamics of change in the global commercial music landscape.

Dare to Flee: The Last of the Bushmen is the story of Xai, a San (Bushmen) tracker, who is drafted into the South African Defence Force to help rescue sixty school children who have been forcibly abducted by a group of armed terrorists. In the ensuing chase, Xai's closest friend is killed by the ruthless leader of the insurgents. Xai is distraught and vows to track down the killer and extract revenge. The drama is played out in 1994 against a backdrop of the beautiful, though arid, Khalahari Desert, known colloquially as the "Thirst Lands." Joining forces with a group of San hunters and their families, Xai discovers that he is now the hunted. Meanwhile, the Botswana Government has embarked on a scheme to remove Bushmen from the Botswana portion of the Khalahari. They are to be relocated to settlement camps, far from the traditional grounds they have occupied for 20,000 years. The reason? The government wants to mine the diamonds discovered there. About the Author: Phil Graham grew up in South Africa and joined the British South Africa Police in Rhodesia (now Zimbabwe). Now retired, he lives with his wife in the rolling hills in KwaZulu Natal, South Africa. He wrote the book using experiences gleaned during the Rhodesian bush war to tell "the plight of the current day Bushmen in Southern Africa." He is writing the sequel. Publisher's website: http://sbpra.com/PhilGraham