Coming of Age in the Other America illuminates the profound effects of neighborhoods on impoverished families. The authors conducted in-depth interviews and fieldwork with 150 young adults, and found that those who had been able to move to better neighborhoods—either as part of the Moving to Opportunity program or by other means—achieved much higher rates of high school completion and college enrollment than their parents. About half the youth surveyed reported being motivated by an “identity project”—or a strong passion such as music, art, or a dream job—to finish school and build a career.
Yet the authors also found troubling evidence that some of the most promising young adults often fell short of their goals and remained mired in poverty. Factors such as neighborhood violence and family trauma put these youth on expedited paths to adulthood, forcing them to shorten or end their schooling and find jobs much earlier than their middle-class counterparts. Weak labor markets and subpar postsecondary educational institutions, including exploitative for-profit trade schools and under-funded community colleges, saddle some young adults with debt and trap them in low-wage jobs. A third of the youth surveyed—particularly those who had not developed identity projects—were neither employed nor in school. To address these barriers to success, the authors recommend initiatives that help transform poor neighborhoods and provide institutional support for the identity projects that motivate youth to stay in school. They propose increased regulation of for-profit schools and increased college resources for low-income high school students.
Coming of Age in the Other America presents a sensitive, nuanced account of how a generation of ambitious but underprivileged young Baltimoreans has struggled to succeed. It both challenges long-held myths about inner-city youth and shows how the process of “social reproduction”—where children end up stuck in the same place as their parents—is far from inevitable.
Whether you’re a screenwriter, a journalist with an idea for a story, an entrepreneur with a business plan, an inventor with a blueprint, or a manager with an innovative solution, if you want other people to invest their time, energy, and money in your idea, you face an uphill battle….
When I was at MGM, the hardest part of my job was not cutthroat studio politics or grueling production schedules. The toughest part of my job was whenever I had to say “No” to an idea that was almost there.
I had to say no a lot. Every buyer does. The buyer’s work is to say yes to projects that are ready, not almost ready. And no matter how good the script is, if the seller can’t pitch it in a compelling way, how can the buyer see the potential? How can he get his colleagues on board? How can he recommend the seller to his superiors? The fact is that poor pitches doom good projects.
It happens all the time. The ideas, products and services that are pitched more effectively… win. That’s just how the game is played. No sense getting upset over it. Instead, let’s accept the challenge and learn the strategies and tactics that will allow us (and our ideas) to succeed.
-From GOOD IN A ROOM
Business consultant and former MGM Director of Creative Affairs Stephanie Palmer reveals the techniques used by Hollywood’s top writers, producers, and directors to get financing for their projects - and explains how you can apply these techniques to be more successful in your own high-stakes meetings. Because, as Palmer has found, the strategies used to sell yourself and your ideas in Hollywood not only work in other businesses, they often work better.
Whether you are a manager or executive with an innovative proposal, a professional with a hot concept, a salesperson selling to a potential client or investor, or an entrepreneur with a business plan, GOOD IN A ROOM shows you how to:
Master the five stages of the face-to-face meeting
Avoid the secret dealbreakers of the first ninety seconds
Be confident in high-pressure situations
Present yourself better and more effectively than you ever have before
Whether you want to ask for a raise, grow your client list, launch a new business or find financing for a creative project, you must not only present your ideas in a compelling way - you must also sell yourself, as well. GOOD IN A ROOM shows you how to construct a winning presentation and deliver the kind of performance that will get your project greenlighted, whatever industry you are in.
The contributors are Vincenzo Bagnoli, Ewa Chrusciel, Christine DeLuca, Mandy Haggith, Stefanie Kremser, Aurélia Lassaque, Wiesław Myśliwski, Jóanes Nielsen, Edvīns Raups, László Sárközi, Marko Sosič, Jón Kalman Stefánsson, Nara Vardanyan, and Māra Zālīte.
A member of the Rod and Cane Society, an organization of men who spank, Mark DeLuca is attracted to Stephanie like a paddle to a well-rounded bottom. He sees beneath the shield of feminist militancy to the soft, sensitive woman she tries to hide. When she storms away in a snit, the chase is on. Can a spanko convince a diehard feminist her true strength lies in submission?
Matteo De Luca era um homem sofisticado e aten-cioso... totalmente o oposto do jovem rude e gros-seiro que tinha seduzido Stephanie e a tinha dei-xado grávida.
Na ilha idílica de Ischia, na Baía de Nápoles, Stephanie encontrou-se cara a cara com o seu primeiro amor. Mas, embora Matteo tivesse adquirido o orgulho e o refinamento latinos, o seu físico continuava a ser de uma dureza atraente e o seu estilo de vida surpreen-dentemente humilde. Curiosa e desesperadamente atraída, Stephanie rendeu-se àquele homem, mesmo sabendo que não havia futuro para eles enquanto Matteo não lhe revelasse o seu segredo e ela não lhe confessasse o dela: a existência do seu filho.