Steve Jones

Major changes in technology have not been driven by the technologies themselves but by the change in thinking that they enabled. OO design changed software by changing thoughts away from procedures and onto real world "things". This book argues that for SOA to succeed we must move our thoughts away from the implementation technologies and towards the "what" of the business. Using a straight-forward, pictorially driven, methodology the book explains who to discover what the business services really are and how to construct an overall business service architecture. The book covers defining the Business Service Architecture, how to classify services for business value and delivery, understanding the role of IT in supporting the architecture, how project and portfolio management needs to change, how to use a Service Architecture to identify KPIs, and how and when to use Business Process in a service architecture.

In the wake of highly-publicized scientific breakthroughs in using genetics to establish family connections, genealogists began to see potential for their own research. Now many are finding that organizing tests is a relatively straightforward matter - and that comparing the DNA signatures of individuals can reveal startling information on families, surnames and origins. Here Chris Pomery explains the practicalities of testing and interpreting the results. He also takes an objective look at the issues. Whether you are simply seeking to stay informed, actively interested in exploiting the technology, or already part of a DNA project, this is the one guide that fully explores the existing possibilities. Chris Pomery is organizer of the pioneering Pomeroy study, which has been widely cited in coverage including Radio 4's Surnames, Genes and Genealogy and Steve Jones' controversial book Y: The Descent of Men. He lives in Cornwall, England.

What and how we eat are two of the most persistent choices we face in everyday life. Whatever we decide on though, and however mundane our decisions may seem, they will be inscribed with information both about ourselves and about our positions in the world around us. Yet, food has only recently become a significant and coherent area of inquiry for cultural studies and the social sciences. Food and Cultural Studies re-examines the interdisciplinary history of food studies from a cultural studies framework, from the semiotics of Barthes and the anthropology of Levi-Strauss to Elias' historical analysis and Bourdieu's work on the relationship between food, consumption and cultural identity. The authors then go on to explore subjects as diverse as food and nation, the gendering of eating in, the phenomenon of TV chefs, the ethics of vegetarianism and food, risk and moral panics.

What and how we eat are two of the most persistent choices we face in everyday life. Whatever we decide on though, and however mundane our decisions may seem, they will be inscribed with information both about ourselves and about our positions in the world around us. Yet, food has only recently become a significant and coherent area of inquiry for cultural studies and the social sciences. Food and Cultural Studies re-examines the interdisciplinary history of food studies from a cultural studies framework, from the semiotics of Barthes and the anthropology of Levi-Strauss to Elias' historical analysis and Bourdieu's work on the relationship between food, consumption and cultural identity. The authors then go on to explore subjects as diverse as food and nation, the gendering of eating in, the phenomenon of TV chefs, the ethics of vegetarianism and food, risk and moral panics.

Since the 1950s, writing about popular music has become a staple of popular culture. Rolling Stone, Vibe, and The Source as well as music columns in major newspapers target consumers who take their music seriously. Rapidly proliferating fanzines, websites, and internet discussion groups enable virtually anyone to engage in popular music criticism. Until now, however, no one has tackled popular music criticism as a genre of journalism with a particular history and evolution. Pop Music and the Press looks at the major publications and journalists who have shaped this criticism, influencing the public's ideas about the music's significance and quality. The contributors to the volume include academics and journalists; several wear both hats, and some are musicians as well. Their essays illuminate the complex relationships of the music industry, print media, critical practice, and rock culture. (And they repeatedly dispel the notion that being a journalist is the next best thing to being a rock star.) Author note: Steve Jones is Professor of Communication at the University of Illinois, Chicago. Among his books are CyberSociety: Computer-Mediated Communication and Community (editor) and Rock Formation: Popular Music, Technology, and Mass Communication.

Since the 1950s, writing about popular music has become a staple of popular culture. Rolling Stone, Vibe, and The Source as well as music columns in major newspapers target consumers who take their music seriously. Rapidly proliferating fanzines, websites, and internet discussion groups enable virtually anyone to engage in popular music criticism. Until now, however, no one has tackled popular music criticism as a genre of journalism with a particular history and evolution. Pop Music and the Press looks at the major publications and journalists who have shaped this criticism, influencing the public's ideas about the music's significance and quality. The contributors to the volume include academics and journalists; several wear both hats, and some are musicians as well. Their essays illuminate the complex relationships of the music industry, print media, critical practice, and rock culture. (And they repeatedly dispel the notion that being a journalist is the next best thing to being a rock star.)