Fuck You, I'm Stealing Home: A baseball themed band that toured the coast playing primarily basements and selling matchbooks with our name on them. The oddity of the theme alone helped move some serious units.

Aftermath: My first band when I was 12, named after the fourth Rolling Stones' (our biggest and practically only influence) album (Aftermath), and also because we rehearsed after math (well, school).

New York City Rhythm: Just straight up ripped off the title of a Barry Manilow song. At this point I was starting to become proud of the fact that I had no shame in admitting I liked what some might refer to as the more shameful side of AM Gold. 

“The time we were opened to that world is when we talk to other bands. People who are great people, amazing musicians. Then they release a new song, and I’m like, ‘That’s not them. I’ve been on tour with them for months, that’s something they would not do. That’s where we’ve seen it the most, honestly.” When it is suggested those artists drank the Kool-Aid, Joseph adjusts the metaphor, replacing “drank” with “served.” “They weren’t given a choice. They were painted into a situation where they were going to get shelved or a plug was going to get pulled, by people in control who think they know [what works].”

For the sixteen-track album, the band invented fifteen fictional personas, each with its own sound, aesthetic, and backstory that draw from different decades of club culture. Genres range from Studio 1 reggae to indie rock, under pseudonyms like Burning Phlegm, White Virgins, and Noah's Dark.

But even if being in PUP sounds like a living nightmare for Babcock, it’s all he’s got. Gig or no gig, he’s waking up most mornings on the floor with more apologies than dollars in the bank, coming to the same conclusion over and over again: that voice in my head telling me I’m a loser was right all along.

I instantly knew it was something I wanted to do

Refer to parts of stories, dramas, and poems when writing or speaking about a text, using terms such as chapter, scene, and stanza; describe how each successive part builds on earlier sections.

In one version of this experiment, if we gave participants synthetic oxytocin (in the nose, that will reach the brain in an hour), they donated to 57 percent more of the featured charities and donated 56 percent more money than participants given a placebo. Those who received oxytocin also reported more emotional transportation into the world depicted in the ad. Most importantly, these people said they were less likely to engage in the dangerous behaviors shown in the ads. So, go see a movie and laugh and cry. It’s good for your brain, and just might motivate you to make positive changes in your life and in others’ lives as well.

Once a story has sustained our attention long enough, we may begin to emotionally resonate with story’s characters. Narratologists call this “transportation,” and you experience this when your palms sweat as James Bond trades blows with a villain on top of a speeding train.

Any Hollywood writer will tell you that attention is a scarce resource. Movies, TV shows, and books always include “hooks” that make you turn the page, stay on the channel through the commercial, or keep you in a theater seat. Scientists liken attention to a spotlight. We are only able to shine it on a narrow area. If that area seems less interesting than some other area, our attention wanders.

This evidence supports the view of some narrative theorists that there is a universal story structure. These scholars claim every engaging story has this structure, called the dramatic arc. It starts with something new and surprising, and increases tension with difficulties that the characters must overcome, often because of some failure or crisis in their past, and then leads to a climax where the characters must look deep inside themselves to overcome the looming crisis, and once this transformation occurs, the story resolves itself. 

It turns out

Seneca Creation Story

The First Book of Moses, Called Genesis

As soon as computer data entry moved from punch-cards to online files (in the mid/late 1960s) there were "commands" for accomplishing this operation.

But if you turn data into a money-printing machine for citizens, whereby we all become entrepreneurs, that will extend the financialization of everyday life to the most extreme level, driving people to obsess about monetizing their thoughts, emotions, facts, ideas—because they know that, if these can only be articulated, perhaps they will find a buyer on the open market. This would produce a human landscape worse even than the current neoliberal subjectivity. I think there are only three options. We can keep these things as they are, with Google and Facebook centralizing everything and collecting all the data, on the grounds that they have the best algorithms and generate the best predictions, and so on. We can change the status of data to let citizens own and sell them. Or citizens can own their own data but not sell them, to enable a more communal planning of their lives. That’s the option I prefer.

Teachers can save digital content to the built-in storage and up to 50 students at a time can connect to the Access Point to download or access documents, videos, or other files on their own devices even if there’s no internet signal.