Podcast appearances and mentions of martin lund

On this episode of The Six Five – CXO, hosts Daniel Newman and Patrick Moorhead welcome Sachin Katti, SVP and GM of the Network and Edge Group at Intel, Martin Lund, SVP of Telco, Ops and Private 5G at Microsoft, and Tareq Amin, CEO of Rakuten Mobile/Rakuten Symphony, Inc Their discussion covers: Focusing network upgrades toward performance, energy efficiency, and flexibility of choice Catalyzing virtualization with their ecosystem partners Streamlining network upgrades, while driving down platform complexity and cost The factors that contribute to the complexity of service delivery How Intel is helping operators navigate their cloud-native journeys, both modernizing and monetizing their networks It's a great conversation, and one you won't want to miss. Be sure to subscribe to The Six Five Webcast, so you never miss an episode.

Hosted by Andrew Keen, Keen On features conversations with some of the world's leading thinkers and writers about the economic, political, and technological issues being discussed in the news, right now. In this episode, Andrew is joined by Martin Lund, author of Whiteness. Martin Lund is Senior Lecturer, Department of Society, Culture, and Identity at Malmö University. He is the author of Re-Constructing the Man of Steel: Superman 1938-1941, Jewish American History, and the Invention of the Jewish-Comics Connection. Learn more about your ad choices. Visit megaphone.fm/adchoices

- Jeg tenker at det eneste riktige å gjøre er å gå for det man brenner mest for, sier billedkunstner Ole Martin Lund Bø (48). De siste årene har hans kunstpraksis hatt et tydelige skifte i både form og metode. Før jobbet han konseptbasert med skulpturelle installasjoner og fotografi, mens han de siste årene har brukt tiden sin på å male abstrakte malerier. Ole Martin har hatt en aktiv kunstnerkarriere helt siden han gikk ut fra Kunstakademiet i Bergen for 20 år siden. Han har en rekke utstillinger bak seg, blant annet på Astrup Fearnley museet, Bergen Kunsthall, Fotogalleriet, Kunstnerforbundet og Melk. Verkene hans er kjøpt inn av blant annet Stavanger kunstmuseum, Kode, og Kulturrådet. Christina snakker med ham om å konstant tenke på kunst, om den skapende prosessen som de kommer frem til at minner om en trapp, om motgang og grubling og om å si ja til ting man ikke kan. Episoden er laget i samarbeid med Oslo Open, en årlig Oslo-happening hvor nesten 400 kunstnere ønsker publikum velkommen inn i aterlierene sine. I 2022 skjer det helgen 23-24 april. Intervjuet av Christina Skreiberg Foto: Privat

To no one's surprise, Nintendo continues to discontinue their virtual consoles, this time with the Wii U and 3DS eShops taking the bullets! The ScrubVerse crew is here to let you know some titles to purchase before these platforms disappear in the virtual nether. We discuss the Shenmue anime and  "The Cuphead Show" cartoon and pose the question of should streaming platforms do weekly releases or drop big steaming lumps of shows? Don't know how to keep pesky augers away from your mom jean wearing girlfriend? Fear not, because we played "Night Trap" for this month's "Video Game Scrub Club"! Did Eddie love it? Must Corey own it? Is Scotty an evil genius? Listen in to find out!   Follow, subscribe, and like us on our socials: ScrubVerse | AntiChris | Corey aka "Tornado Jones" | Eddie Fuerte | ScottyMoFoSho | Mega Visions   Opening: "ScrubVerse Theme - Wily" by Kubaluka Closing:  Night Trap "Night Trap Theme" by Sunny BlueSkyes and Martin Lund

It's Halloween, and like the man said: "Ve vant to spin your winyl!" Well, we're spinning our winyl anyway, and they're all rather spookity in honor of the season. First, Jeremy brings new meaning to the season of chilling with a rather cool rendition of Resident Evil with RE:Mixed [The Save Rooms], which is the kind of compilation we always wanted but then didn't want but then secretly totally really wanted. We suppose synthwave might have limited breadth but it's always fun and we pick some fan favorites to show off. Next, Anthony takes us to the weird intersection of horror and feng shui with Kowloon's Gate, a 1997 horror game that defies classification. The game's soundtrack by Kuniaki Haishima is similarly tough to comprehend but we stare into the mouth of its madness with our ears, and marvel at Haishima's liner notes, an absolutely epic manifesto of existence. Finally we shift into horror of another kind: moral panic, with our long-overdue coverage of Night Trap from Ship to Shore Records. We compare and contrast the music of Sunny Blueskyes and Martin Lund with the gameplay, and place it all in the context of the US congressional hearings of the 1990s. No, it doesn't make any more sense now than then. Finally, we fill your trick-or-treat bag with all the new releases in the world of game music on vinyl, but we're going to take our dad tax because it's just how this holiday works. Outro: "RE0" - RE:Mixed [The Save Rooms] by Mono Memory Twitter – @vg_grooves, @jeremy_lamont, @ajohnagnello, @ch3records Links: Final Fantasy - Heroes And Villains (Square Enix) NA: https://store.na.square-enix-games.com/en_US/product/694930/heroes-and-villains-select-tracks-from-the-final-fantasy-series-set-vinyl EU: https://store.eu.square-enix-games.com/en_EU/product/694989/heroes-and-villains-select-tracks-from-the-final-fantasy-series-box UK: https://store.eu.square-enix-games.com/en_GB/product/694988/heroes-and-villains-select-tracks-from-the-final-fantasy-series-box Crest Of Flames, Fire Emblem Three Houses (Materia Collective)    https://music.rozen.audio/album/crest-of-flames Deltatunes (Roborob Deltarune remix) (Materia Collective)    https://roborobmusic.bandcamp.com/album/deltatunes Tekken Tag Tournament 2  (Laced Records)    https://www.lacedrecords.co/collections/tekken/products/tekken-tag-tournament-2-limited-edition-x4lp-boxset Serious Sam 4 (Laced Records)    https://www.lacedrecords.co/products/serious-sam-4-deluxe-double-vinyl Mega Man Legends 2 (Ship To Shore PhonoCo)    https://shiptoshoremedia.com/collections/featured/products/mega-man-legends-2 Darius II  (Ship To Shore PhonoCo)    https://shiptoshoremedia.com/products/darius-ii Axiom Verge (Limited Run Games)    https://limitedrungames.com/collections/neo-frontpage/products/axiom-verge-2-vinyl-soundtrack Axiom Verge 2 (Limited Run Games)    https://limitedrungames.com/collections/neo-frontpage/products/axiom-verge-2-vinyl-soundtrack-1 Going Under (Black Screen Records)    https://blackscreenrecords.com/collections/all-releases/products/going-under-original-soundtrack-by-feasley Jet Force Gemini (Fangamer)    https://www.fangamer.com/products/jet-force-gemini-vinyl-soundtrack The Last Of Us Part II: Covers And Rarities EP (Mondo)    https://mondoshop.com/collections/all-music/products/the-last-of-us-part-ii-covers-and-rarities-ep Jettomero: Hero Of The Universe (Stumpy Frog Records)    https://www.stumpyfrog.com/ Heroes Of Might & Magic III (Gamemusic Records) (sold out)    https://gamemusic.net/product/heroes/ Metal Slug X (Wayô Records)    https://www.wayorecords.com/en/vinyls/748-metal-slug-x-vinyl.html STS (exclusive): https://shiptoshoremedia.com/collections/featured/products/metal-slug-x Theme From Space Guards (Notstands Komitee Bandcamp)    https://notstandskomitee.bandcamp.com/album/theme-from-space-guards TrickStyle (Respawned Records)    https://respawnedrecords.

Episode #215 of BGMania: A Video Game Music Podcast. This week on the show, Bryan and Frank from RPGera wait for the sun to go down before strolling the alleys and streets, hoping to bump into a vampire! Email the show at bgmania@leveldowngames.com with requests for upcoming episodes, questions, feedback, comments, concerns, whatever you want really! EPISODE PLAYLIST AND CREDITS The Brood's Theme from WWF Attitude [Jim Johnson, 1999] On the Champs Désolés from The Witcher 3: Blood & Wine [Marcin Przybylowicz, Mikolai Stroinski, & Piotr Musiał, 2016] Stereo from Night Trap [Sunny BlueSkyes & Martin Lund, 1992] Ozama, the True Evil from Twisted Tales of Spike McFang [Hisashi Matsushita, 1994] Thames River -Round 1- from Vampire: Master of Darkness [Yoko Wada & Takashi Horiguchi, 1993] Arcadian Vampire from Disgaea 4 [Tenpei Sato, 2011] The Guardian from Illusion of Gaia [Yasuhiro Kawasaki, 1994] Bloodthirsty from Resident Evil Village [Shusaku Uchiyama, 2021] Battle With the First from Buffy the Vampire Slayer: Chaos Bleeds [Ian Livingstone, 2003] Blood Thirst Concerto -Raphael's Theme- from Soul Calibur V [Cris Velasco, 2012] What We Could Have Become from Vampyr [Olivier Deriviere, 2018] Dark Necrobat's Theme from Mega Man X5 [Naoto Tanaka, Naoya Kamisaka, & Takuya Miyawaki, 2001] Count Batula from Conker's Bad Fur Day [Robin Beanland, 2001] Ruined Stables from Bram Stoker's Dracula [Andy Brock, 1993] SUPPORT US Patreon: https://patreon.com/rpgera CONTACT US Website: https://rpgera.com Discord: https://discord.gg/cC73Heu Twitch: https://twitch.tv/leveldowngames Twitter: https://twitter.com/OriginalLDG Instagram: https://instagram.com/bryan.ldg/ Facebook: https://facebook.com/leveldowngaming --- Send in a voice message: https://anchor.fm/bgmania/message Support this podcast: https://anchor.fm/bgmania/support

In Unstable Masks: Whiteness and American Superhero Comics (Ohio State UP, 2020), Sean Guynes and Martin Lund have assembled more than fifteen chapters that interrogate our thinking about superheroes, especially those written and created in the United States, and how those heroes participate in reifying the whiteness of American politics, culture, and worldview. Even as we have seen attempts to diversify the representation within the superhero genre, there is a continued reinscribing of the normative whiteness that frames not only the narratives themselves, but the ideas and images conveyed by the authors, artists, and producers of these works. As Lund and Guynes note, much analysis has been done about the superheroes, especially paying attention to those heroes who deviate from the norm in terms of race, gender, and sexuality. But what has been missing in a great deal of the scholarship is an analysis of the predominant whiteness of superheroes and how the constructed narrative of the genre, of defeating a threat to a particular way of life, country, people, continues to reaffirm the overarching whiteness of this genre. As Lund noted in conversation, the marquee superheroes are unhyphenated, they are simply the normal, everyday superhero, and they are also, by default, white. Whereas Black, or LatinX superheroes are classified as such, and they are thus distinguished from the “normal” superhero. It is not only the characters themselves, in the panels, but also the structure of the story that complies with an understanding of whiteness, and a hierarchy that is often racially structured. The superhero is tasked with fighting for the “good” – but who defines that good, and who benefits from that preserved good? This very understanding of the job of the superhero, to fight for “truth, justice, and the American way” builds on the basis that truth is the same for all members of the society, justice is equally distributed, and the American way is quite clear. Except that none of these are accurate depictions of the reality for those living in the United States (or elsewhere). How we discuss the goals that the superheroes pursue is tied into what it is that we anticipate being restored by a superhero who confronts an enemy. The chapters in Unstable Masks explore this dynamic, focusing on the exceptions as well as those who make up the vast majority of this imaginary space, examining how whiteness informs the understanding of the superhero. The contributing authors not only examine different superheroes at different periods, but they also reach back to examine the way that the superhero genre fits within the American cultural and literary tradition of the western, detective fiction, and the conquest of the frontier where individuals imposed “law and order” on “ungoverned” or “unstable” parts of the continent. This is a fascinating collection; taken together, this edited volume an impressive consideration of the superhero genre, those who created these characters, and the audiences who consume and interact with these ideas. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

In Unstable Masks: Whiteness and American Superhero Comics (Ohio State UP, 2020), Sean Guynes and Martin Lund have assembled more than fifteen chapters that interrogate our thinking about superheroes, especially those written and created in the United States, and how those heroes participate in reifying the whiteness of American politics, culture, and worldview. Even as we have seen attempts to diversify the representation within the superhero genre, there is a continued reinscribing of the normative whiteness that frames not only the narratives themselves, but the ideas and images conveyed by the authors, artists, and producers of these works. As Lund and Guynes note, much analysis has been done about the superheroes, especially paying attention to those heroes who deviate from the norm in terms of race, gender, and sexuality. But what has been missing in a great deal of the scholarship is an analysis of the predominant whiteness of superheroes and how the constructed narrative of the genre, of defeating a threat to a particular way of life, country, people, continues to reaffirm the overarching whiteness of this genre. As Lund noted in conversation, the marquee superheroes are unhyphenated, they are simply the normal, everyday superhero, and they are also, by default, white. Whereas Black, or LatinX superheroes are classified as such, and they are thus distinguished from the “normal” superhero. It is not only the characters themselves, in the panels, but also the structure of the story that complies with an understanding of whiteness, and a hierarchy that is often racially structured. The superhero is tasked with fighting for the “good” – but who defines that good, and who benefits from that preserved good? This very understanding of the job of the superhero, to fight for “truth, justice, and the American way” builds on the basis that truth is the same for all members of the society, justice is equally distributed, and the American way is quite clear. Except that none of these are accurate depictions of the reality for those living in the United States (or elsewhere). How we discuss the goals that the superheroes pursue is tied into what it is that we anticipate being restored by a superhero who confronts an enemy. The chapters in Unstable Masks explore this dynamic, focusing on the exceptions as well as those who make up the vast majority of this imaginary space, examining how whiteness informs the understanding of the superhero. The contributing authors not only examine different superheroes at different periods, but they also reach back to examine the way that the superhero genre fits within the American cultural and literary tradition of the western, detective fiction, and the conquest of the frontier where individuals imposed “law and order” on “ungoverned” or “unstable” parts of the continent. This is a fascinating collection; taken together, this edited volume an impressive consideration of the superhero genre, those who created these characters, and the audiences who consume and interact with these ideas. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/political-science

In Unstable Masks: Whiteness and American Superhero Comics (Ohio State UP, 2020), Sean Guynes and Martin Lund have assembled more than fifteen chapters that interrogate our thinking about superheroes, especially those written and created in the United States, and how those heroes participate in reifying the whiteness of American politics, culture, and worldview. Even as we have seen attempts to diversify the representation within the superhero genre, there is a continued reinscribing of the normative whiteness that frames not only the narratives themselves, but the ideas and images conveyed by the authors, artists, and producers of these works. As Lund and Guynes note, much analysis has been done about the superheroes, especially paying attention to those heroes who deviate from the norm in terms of race, gender, and sexuality. But what has been missing in a great deal of the scholarship is an analysis of the predominant whiteness of superheroes and how the constructed narrative of the genre, of defeating a threat to a particular way of life, country, people, continues to reaffirm the overarching whiteness of this genre. As Lund noted in conversation, the marquee superheroes are unhyphenated, they are simply the normal, everyday superhero, and they are also, by default, white. Whereas Black, or LatinX superheroes are classified as such, and they are thus distinguished from the “normal” superhero. It is not only the characters themselves, in the panels, but also the structure of the story that complies with an understanding of whiteness, and a hierarchy that is often racially structured. The superhero is tasked with fighting for the “good” – but who defines that good, and who benefits from that preserved good? This very understanding of the job of the superhero, to fight for “truth, justice, and the American way” builds on the basis that truth is the same for all members of the society, justice is equally distributed, and the American way is quite clear. Except that none of these are accurate depictions of the reality for those living in the United States (or elsewhere). How we discuss the goals that the superheroes pursue is tied into what it is that we anticipate being restored by a superhero who confronts an enemy. The chapters in Unstable Masks explore this dynamic, focusing on the exceptions as well as those who make up the vast majority of this imaginary space, examining how whiteness informs the understanding of the superhero. The contributing authors not only examine different superheroes at different periods, but they also reach back to examine the way that the superhero genre fits within the American cultural and literary tradition of the western, detective fiction, and the conquest of the frontier where individuals imposed “law and order” on “ungoverned” or “unstable” parts of the continent. This is a fascinating collection; taken together, this edited volume an impressive consideration of the superhero genre, those who created these characters, and the audiences who consume and interact with these ideas. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In Unstable Masks: Whiteness and American Superhero Comics (Ohio State UP, 2020), Sean Guynes and Martin Lund have assembled more than fifteen chapters that interrogate our thinking about superheroes, especially those written and created in the United States, and how those heroes participate in reifying the whiteness of American politics, culture, and worldview. Even as we have seen attempts to diversify the representation within the superhero genre, there is a continued reinscribing of the normative whiteness that frames not only the narratives themselves, but the ideas and images conveyed by the authors, artists, and producers of these works. As Lund and Guynes note, much analysis has been done about the superheroes, especially paying attention to those heroes who deviate from the norm in terms of race, gender, and sexuality. But what has been missing in a great deal of the scholarship is an analysis of the predominant whiteness of superheroes and how the constructed narrative of the genre, of defeating a threat to a particular way of life, country, people, continues to reaffirm the overarching whiteness of this genre. As Lund noted in conversation, the marquee superheroes are unhyphenated, they are simply the normal, everyday superhero, and they are also, by default, white. Whereas Black, or LatinX superheroes are classified as such, and they are thus distinguished from the “normal” superhero. It is not only the characters themselves, in the panels, but also the structure of the story that complies with an understanding of whiteness, and a hierarchy that is often racially structured. The superhero is tasked with fighting for the “good” – but who defines that good, and who benefits from that preserved good? This very understanding of the job of the superhero, to fight for “truth, justice, and the American way” builds on the basis that truth is the same for all members of the society, justice is equally distributed, and the American way is quite clear. Except that none of these are accurate depictions of the reality for those living in the United States (or elsewhere). How we discuss the goals that the superheroes pursue is tied into what it is that we anticipate being restored by a superhero who confronts an enemy. The chapters in Unstable Masks explore this dynamic, focusing on the exceptions as well as those who make up the vast majority of this imaginary space, examining how whiteness informs the understanding of the superhero. The contributing authors not only examine different superheroes at different periods, but they also reach back to examine the way that the superhero genre fits within the American cultural and literary tradition of the western, detective fiction, and the conquest of the frontier where individuals imposed “law and order” on “ungoverned” or “unstable” parts of the continent. This is a fascinating collection; taken together, this edited volume an impressive consideration of the superhero genre, those who created these characters, and the audiences who consume and interact with these ideas. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In Unstable Masks: Whiteness and American Superhero Comics (Ohio State UP, 2020), Sean Guynes and Martin Lund have assembled more than fifteen chapters that interrogate our thinking about superheroes, especially those written and created in the United States, and how those heroes participate in reifying the whiteness of American politics, culture, and worldview. Even as we have seen attempts to diversify the representation within the superhero genre, there is a continued reinscribing of the normative whiteness that frames not only the narratives themselves, but the ideas and images conveyed by the authors, artists, and producers of these works. As Lund and Guynes note, much analysis has been done about the superheroes, especially paying attention to those heroes who deviate from the norm in terms of race, gender, and sexuality. But what has been missing in a great deal of the scholarship is an analysis of the predominant whiteness of superheroes and how the constructed narrative of the genre, of defeating a threat to a particular way of life, country, people, continues to reaffirm the overarching whiteness of this genre. As Lund noted in conversation, the marquee superheroes are unhyphenated, they are simply the normal, everyday superhero, and they are also, by default, white. Whereas Black, or LatinX superheroes are classified as such, and they are thus distinguished from the “normal” superhero. It is not only the characters themselves, in the panels, but also the structure of the story that complies with an understanding of whiteness, and a hierarchy that is often racially structured. The superhero is tasked with fighting for the “good” – but who defines that good, and who benefits from that preserved good? This very understanding of the job of the superhero, to fight for “truth, justice, and the American way” builds on the basis that truth is the same for all members of the society, justice is equally distributed, and the American way is quite clear. Except that none of these are accurate depictions of the reality for those living in the United States (or elsewhere). How we discuss the goals that the superheroes pursue is tied into what it is that we anticipate being restored by a superhero who confronts an enemy. The chapters in Unstable Masks explore this dynamic, focusing on the exceptions as well as those who make up the vast majority of this imaginary space, examining how whiteness informs the understanding of the superhero. The contributing authors not only examine different superheroes at different periods, but they also reach back to examine the way that the superhero genre fits within the American cultural and literary tradition of the western, detective fiction, and the conquest of the frontier where individuals imposed “law and order” on “ungoverned” or “unstable” parts of the continent. This is a fascinating collection; taken together, this edited volume an impressive consideration of the superhero genre, those who created these characters, and the audiences who consume and interact with these ideas. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies

In Unstable Masks: Whiteness and American Superhero Comics (Ohio State UP, 2020), Sean Guynes and Martin Lund have assembled more than fifteen chapters that interrogate our thinking about superheroes, especially those written and created in the United States, and how those heroes participate in reifying the whiteness of American politics, culture, and worldview. Even as we have seen attempts to diversify the representation within the superhero genre, there is a continued reinscribing of the normative whiteness that frames not only the narratives themselves, but the ideas and images conveyed by the authors, artists, and producers of these works. As Lund and Guynes note, much analysis has been done about the superheroes, especially paying attention to those heroes who deviate from the norm in terms of race, gender, and sexuality. But what has been missing in a great deal of the scholarship is an analysis of the predominant whiteness of superheroes and how the constructed narrative of the genre, of defeating a threat to a particular way of life, country, people, continues to reaffirm the overarching whiteness of this genre. As Lund noted in conversation, the marquee superheroes are unhyphenated, they are simply the normal, everyday superhero, and they are also, by default, white. Whereas Black, or LatinX superheroes are classified as such, and they are thus distinguished from the “normal” superhero. It is not only the characters themselves, in the panels, but also the structure of the story that complies with an understanding of whiteness, and a hierarchy that is often racially structured. The superhero is tasked with fighting for the “good” – but who defines that good, and who benefits from that preserved good? This very understanding of the job of the superhero, to fight for “truth, justice, and the American way” builds on the basis that truth is the same for all members of the society, justice is equally distributed, and the American way is quite clear. Except that none of these are accurate depictions of the reality for those living in the United States (or elsewhere). How we discuss the goals that the superheroes pursue is tied into what it is that we anticipate being restored by a superhero who confronts an enemy. The chapters in Unstable Masks explore this dynamic, focusing on the exceptions as well as those who make up the vast majority of this imaginary space, examining how whiteness informs the understanding of the superhero. The contributing authors not only examine different superheroes at different periods, but they also reach back to examine the way that the superhero genre fits within the American cultural and literary tradition of the western, detective fiction, and the conquest of the frontier where individuals imposed “law and order” on “ungoverned” or “unstable” parts of the continent. This is a fascinating collection; taken together, this edited volume an impressive consideration of the superhero genre, those who created these characters, and the audiences who consume and interact with these ideas. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

In Unstable Masks: Whiteness and American Superhero Comics (Ohio State UP, 2020), Sean Guynes and Martin Lund have assembled more than fifteen chapters that interrogate our thinking about superheroes, especially those written and created in the United States, and how those heroes participate in reifying the whiteness of American politics, culture, and worldview. Even as we have seen attempts to diversify the representation within the superhero genre, there is a continued reinscribing of the normative whiteness that frames not only the narratives themselves, but the ideas and images conveyed by the authors, artists, and producers of these works. As Lund and Guynes note, much analysis has been done about the superheroes, especially paying attention to those heroes who deviate from the norm in terms of race, gender, and sexuality. But what has been missing in a great deal of the scholarship is an analysis of the predominant whiteness of superheroes and how the constructed narrative of the genre, of defeating a threat to a particular way of life, country, people, continues to reaffirm the overarching whiteness of this genre. As Lund noted in conversation, the marquee superheroes are unhyphenated, they are simply the normal, everyday superhero, and they are also, by default, white. Whereas Black, or LatinX superheroes are classified as such, and they are thus distinguished from the “normal” superhero. It is not only the characters themselves, in the panels, but also the structure of the story that complies with an understanding of whiteness, and a hierarchy that is often racially structured. The superhero is tasked with fighting for the “good” – but who defines that good, and who benefits from that preserved good? This very understanding of the job of the superhero, to fight for “truth, justice, and the American way” builds on the basis that truth is the same for all members of the society, justice is equally distributed, and the American way is quite clear. Except that none of these are accurate depictions of the reality for those living in the United States (or elsewhere). How we discuss the goals that the superheroes pursue is tied into what it is that we anticipate being restored by a superhero who confronts an enemy. The chapters in Unstable Masks explore this dynamic, focusing on the exceptions as well as those who make up the vast majority of this imaginary space, examining how whiteness informs the understanding of the superhero. The contributing authors not only examine different superheroes at different periods, but they also reach back to examine the way that the superhero genre fits within the American cultural and literary tradition of the western, detective fiction, and the conquest of the frontier where individuals imposed “law and order” on “ungoverned” or “unstable” parts of the continent. This is a fascinating collection; taken together, this edited volume an impressive consideration of the superhero genre, those who created these characters, and the audiences who consume and interact with these ideas. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Unstable Masks: Whiteness and American Superhero Comics (Ohio State UP, 2020), Sean Guynes and Martin Lund have assembled more than fifteen chapters that interrogate our thinking about superheroes, especially those written and created in the United States, and how those heroes participate in reifying the whiteness of American politics, culture, and worldview. Even as we have seen attempts to diversify the representation within the superhero genre, there is a continued reinscribing of the normative whiteness that frames not only the narratives themselves, but the ideas and images conveyed by the authors, artists, and producers of these works. As Lund and Guynes note, much analysis has been done about the superheroes, especially paying attention to those heroes who deviate from the norm in terms of race, gender, and sexuality. But what has been missing in a great deal of the scholarship is an analysis of the predominant whiteness of superheroes and how the constructed narrative of the genre, of defeating a threat to a particular way of life, country, people, continues to reaffirm the overarching whiteness of this genre. As Lund noted in conversation, the marquee superheroes are unhyphenated, they are simply the normal, everyday superhero, and they are also, by default, white. Whereas Black, or LatinX superheroes are classified as such, and they are thus distinguished from the “normal” superhero. It is not only the characters themselves, in the panels, but also the structure of the story that complies with an understanding of whiteness, and a hierarchy that is often racially structured. The superhero is tasked with fighting for the “good” – but who defines that good, and who benefits from that preserved good? This very understanding of the job of the superhero, to fight for “truth, justice, and the American way” builds on the basis that truth is the same for all members of the society, justice is equally distributed, and the American way is quite clear. Except that none of these are accurate depictions of the reality for those living in the United States (or elsewhere). How we discuss the goals that the superheroes pursue is tied into what it is that we anticipate being restored by a superhero who confronts an enemy. The chapters in Unstable Masks explore this dynamic, focusing on the exceptions as well as those who make up the vast majority of this imaginary space, examining how whiteness informs the understanding of the superhero. The contributing authors not only examine different superheroes at different periods, but they also reach back to examine the way that the superhero genre fits within the American cultural and literary tradition of the western, detective fiction, and the conquest of the frontier where individuals imposed “law and order” on “ungoverned” or “unstable” parts of the continent. This is a fascinating collection; taken together, this edited volume an impressive consideration of the superhero genre, those who created these characters, and the audiences who consume and interact with these ideas. Lilly J. Goren is professor of political science at Carroll University in Waukesha, WI. She is co-editor of the award winning book, Women and the White House: Gender, Popular Culture, and Presidential Politics (University Press of Kentucky, 2012), as well as co-editor of Mad Men and Politics: Nostalgia and the Remaking of Modern America (Bloomsbury Academic, 2015). Email her comments at lgoren@carrollu.edu or tweet to @gorenlj. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Så har vi snakket 22. runde igennem, meeeeeen på en lidt anderledes måde end normalt, vi bliver nemlig akkompagneret af 14 forskellige spillere - 1 fra hver kamp, så derfor blev længden også derefter. Hør spillerreaktioner fra: Asger Højmark-Jensen, Frederik Emil Andersen, Martin Lund, Christian Rye, Thomas Hagelskjær, Jesper Christiansen, Christian Overby, Dino Karjasevic, Aris Vaporakis, Jacob Pind, Kasper S. Jensen, Emil Wass, Tobias Noer og Malte Sjørslev.

William S. Knudsen er den danskfødte person, der med sine evner og enestående indsats, nok bidrog mest til, at 2. verdenskrig til sidste blev vundet og ikke varede længere end seks år. Erhvervsmanden var et produktionsgeni hos bilgiganten General Motors og kæmpede ikke selv med våben i hånd for at besejre aksemagterne. I stedet stod han i spidsen for produktionen af størstedelen af de våben, som de allierede magter skulle bruge allerede fra 1940, hvor især Storbritannien blev tvunget i knæ af Nazityskland. Knudsen måtte helt fra bunden omlægge USA's industri fra produktion af forbrugsvarer og maskiner til våbenindustri. Det skete i et omfang og på så kort tid, at det er umuligt at overvurdere hans bidrag.  I bogen ”BIG BILL” – produktionsgeniet, der satte de allierede i stand til at vinde 2. verdenskrig fortæller journalist Martin Lund historien om københavnerdrengen, der endte som bilbyen Detroits store søn og trestjernet general i spidsen for at USA med præsident Franklin D. Roosevelts ord blev ”demokratiernes arsenal”. See omnystudio.com/listener for privacy information.

Cyril och Stig gästas i detta avsnitt av konstnären Martin Ålund och det blev en mycket intressant diskussion om konstens roll, om modernism och postmodernism. Lyssna! See acast.com/privacy for privacy and opt-out information.

Det er duket for delte meninger i guttegarderoben når lavkulturtantene jazzer om Billy Budd-oppsetningen på Den Norske Opera & Ballett. Mens enkelte er klare for å stupe måke langs planten av ren begeistring, er andre forvirret og litt skuffet over det de trodde skulle være et sjøslag av en shantykor-kavalkade. Ingen av oss har noe særlig forutsetninger for å synse om opera, og det beviser vi på pinligst mulig vis gjennom en hjemmesnekret opera-quiz. Egentlig bør alle være fornøyde med at vi klarer oss gjennom så å si hele episoden uten å bryte ut i sang for å formidle de kruttsterke følelsene våre.Lik oss på Facebook Følg oss på InstagramAndre stikkord: Psychobitch, Aldri mer 13, Skam, kulturell appropriasjon av ungdomskultur og teenagernes skam og sosiale medier, Tik Tok, sportsfilmer, Martin Lund, Emir alias Onge Sushi Mane, Luksusfellen, Camp Kulinaris, Hallgeir Kvadsheim, Jonas Bakkevig, Silje Sandmæl, I lomma på Silje, Tore Petterson, Jenny Jensen og museflettene hennes, Septimus, forbrukerjournalistikk og testing av matnyheter, Grandiosa, Pepsi Max, Tryllefløyten med Atle Antonsen, Delibes’ Lakmé, Kirsten Flagstad, Herman Melville, Moby Dick, Ahabs Wife av Sena Jeter Naslund, Benjamin Britten, War Requiem, alskens fokkeslasker, shantykor, Ashanti-kor, Storm Weather Shanty Choir, Slogmåkane, dokumentaren Arbeidssanger og viser fra seilskutetiden, The Village People, Turboneger, Aftenpostens Slik blir du en operaelsker-guide, Leoncavallos Pagliacci, Seinfeld, MasterChef Australia, YouTube-kanalen Bon Appétit, pulled pork, cronuts, Pringles, Snickers, gips, Rowan Atkinson og Kim Bodnia og alle de andre støttekontaktene til Saga Norén i Broen.

Reading Learning Session #1. Together with Bodil Krogh Andersen, Lea Anic, Camilla Fagerli, Mai Keldsen, Martin Lund, and Maja Liisberg Poulsen – a group of amazing students from the Royal Academy of Fine Art in Copenhagen – Maria Berrios and I (Jakob Jakobsen) are doing a collective reading of the speech delivered by Edmundo Desnoes, one of the cuban delegates at the Cultural Congress of Havana in January 1968. From this speech we also borrowed the title of the show in the Archive: 'We Are and We Are Not'.

In this special episode recorded at the AATC 2017, Andrea Goulet speaks with Martin D. Lund, a scrum-certified software engineer who helps run an engineering team and a parent to three children on the autism spectrum. Founder of Agile for Autism (http://www.agile4autism.com/), a nonprofit initiative to help parents build educational and therapeutic programs for children with Autism Spectrum Disorders, Marty shares tips for working with someone on the autism spectrum and how he successfully implemented agile practices in his parenting.

Daninn Martin Lund Pedersen hefur spilað lykilhlutverk hjá Fjölni í Pepsi-deildinni í sumar og er meðal markahæstu leikmanna deildarinnar. Hann hefur skorað 7 mörk í 10 leikjum. Hlustendur útvarpsþáttarins Fótbolti.net fengu að kynnast þessum 24 ára leikmanni betur í viðtali við Tómas Þór Þórðarson sem heyra má í spilaranum hér að ofan.

Få inspiration til, hvordan du kan blive bedre til at bruge LinkedIn i din virksomhed. Med Jacob Elton og Martin Lund fra LinkedInsider.

Få inspiration til, hvordan du kan blive bedre til at bruge LinkedIn i din virksomhed. Med Jacob Elton og Martin Lund fra LinkedInsider.

Here is a unique app called Social Sniper. The creator, Martin Lund, has an IndieGoGo campaign running to help fund his vision. If you like what you hear in this episode, go and help him by pledging for one of the rewards.

Den norske filmen "Mer eller mindre mann" fikk med seg ikke mindre enn to priser hjem fra den tradisjonsrike filmfestivalen i Karlovy Vary i Tsjekkia i helgen. Regisør Martin Lund kunne hente trofeet for beste film, og skuespiller Henrik Rafaelsen for beste mannlige hovedrolle. "Mer eller mindre mann" hadde sin verdenspremiere på festivalen i Karlovy Vary. Det norske kinopublikumet må smøre seg med tålmodighet og kan først nyte prisvinneren i september. Martin Lund, du har regisert og skrevet manus til filmen. Gratulerer!