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From Staircase to Stage: The Story of Raekwon and the Wu-Tang Clan

為了解決Eminem的問題，作者Raekwon 這樣論述：

Raekwon the Chef has been one of the most sought-out voices in hip-hop for nearly thirty years. Born as Corey Woods, the Staten Island native is a true originator of lyricism, street culture, and rugged NYC style. As a founding member of Wu-Tang Clan, he achieved success with Enter the Wu-Tang (36 C

hambers) in 1993, and followed it up with his platinum solo debut, Only Built 4 Cuban Linx, and countless classic collaborations. He is also an entrepreneur and the founder of his own label, ICE H2O Records, and divides his time between New York, Atlanta, and Texas. Anthony Bozza is a former Rolling

Stone staff writer and author of the New York Times bestsellers Whatever You Say I Am: The Life and Times of Eminem, Tommyland with Tommy Lee, Slash with Slash, and Too Fat to Fish with Artie Lange. He lives in New York City. Visit ABozza.com.

Eminem進入發燒排行的影片

志工媒合與預約平台之契機與社會影響力

為了解決Eminem的問題，作者洪哲仁 這樣論述：

STANCE is a platform for helping. It starts with providing matching service by enabling users to easily search and book volunteering activities, based on their availability, location, and causes they support. Moving forward, it further incorporates other features that ensure security and paves the

way to provide (and receive) different forms of help. It aims to provide what is hoped to be one of the largest and most trusted networks to connect the right people, right resources, and right opportunities to make it easy to help and be helped.Similar but less comprehensive platforms exist, and in

terested consumers always have the option of doing all the legwork offline/manually. However, this just shows how technology has not seemed to be much utilized to improve and develop the volunteering industry and the altruism space in general. Especially for today’s “on-demand” generation, people ha

ve gotten used to having wide array of options and being able to access them in an instant; yet, the way people try to find and do volunteer work has not significantly changed or improved over the last decade.Stance provides a better solution in guiding less knowledgeable or less experienced individ

uals or groups to find opportunities, and significantly cut down the often lengthy and often tedious steps it takes. More importantly, it uses the smaller and more achievable courses of action, tying them together to universal goals that follow from UN’s 17 Sustainable Development Goals, and ultimat

ely brings all the small efforts to make a more impactful contribution to create big transformations globally.Aside from having a clear gap that is currently not being addressed, the market is also attractive due to the market size and societal trends that make this business more relevant. In the Ph

ilippines alone, an estimated 41 million people volunteer their time for an organization, not including other forms of helping. With the primary target market being in their 20s-30s (Millennials and Gen Z), we are looking at more than ⅓ of the of the Philippine population, and at least half of the p

opulation when including secondary target market (being those in their teens and those in their 40s). Target users of the platform focuses on casual volunteers, but generally includes anyone who is interested in doing good. Based on a self-initiated feasibility study in the form of survey, 79% of th

e respondents expressed interest in Stance.In addition to individual users, other key stakeholders include charitable organizations who provide the supply of volunteering opportunities and other potential partners that can also be users, such as corporate, education, or government institutions.Partn

erships with high-value stakeholders will be utilized prior to the launching of the platform, such that it will not be opened to the public “empty.” Stance will initially leverage on key partners and key opinion leaders (i.e. influencers) to first launch 5-10 projects as case studies. This will ensu

re that early users will be highly engaged and these efforts are funneled to create a faster and more evident transformation in these communities. This will act as act as a jumping point to influence network effects and with the help of aggressive and disruptive Marketing support, will be help bring

in the first “1,000 true fans” and establish brand awareness and credibility.In terms of operations, Stance will start with 10 employees mainly be composed of top management (who will also temporarily absorb a more supervisory role and serve as business heads) and team members under 5 initial depar

tments (who will eventually progress as middle managers). Additional members and staff will be added later on, in order to have sufficient manpower to perform certain business functions in-house such as market research, graphic design and content production, IT infrastructure, to name a few. Stance

will be bootstrapped and self-financed with a personal contribution of ₱1,000,000.00 for year 1 to get the platform started and another committed ₱1,000,000.00 from friends and family for Year 2. This, based on the calculated estimated profits and losses, will be sufficient in the start-up phase to

help maintain positive cash flow and prevent debts in the company.Main revenue sources includes: payments made from booking transactions (beginning from the launch of the platform), from subscriptions (beginning from Year 2 or 3), advertising (also in Year 2 or 3), and finally in-app spending for ac

cessory features (such as games, reports & data access, certification, etc.) For the most basic revenue source in the initial stages, users are given the option to pay an upfront ₱55.00 (half of which will also be given to the organization involved), pay a deposit of ₱100.00 but get back ₱80.00 when

they show up for higher commitment (half of which will also be given to the organization involved), or be sponsored by other users who wish to do so. Subscriptions, which will be available later, will cost ₱550.00 per year (amounts to less than ₱50.00 per month) in exchange of the ability to book

(and cancel) unlimitedly, access data and reports to monitor, other perks such as having a tree planted monthly on the user’s behalf and certain rewards tied into the point system in the platform.Seeking additional funding and grants from larger entities, international institutions, and the governme

nt will be actively worked on in parallel. Purchasing of land (or office space) and other potential activities outside the initial plans have not been included under any of the projected costs and identified assets, especially in the initial stages. Adjustments on budgeting and spending depending on

resources and capital can and must be done along the way based on the progress and changes that happen.

Beeple: Everydays, the First 5,000 Images

為了解決Eminem的問題，作者Winkelmann, Mike 這樣論述：

Mike Winkelmann is a graphic designer from Charleston, South Carolina, who does a variety of digital artwork including short films, Creative Commons VJ loops, everydays, and VR/AR work. After releasing a set of widely used Creative Commons VJ loops, he worked on concert visuals for Justin Bieber, On

e Direction, Katy Perry, Nicki Minaj, Eminem, Zedd, and deadmau5, among others. His clients include Louis Vuitton, Apple, Nike, Coca-Cola, and Pepsi.

嘻哈的創意組裝：以德勒茲和瓜塔里閱讀《嘻哈星球筆記》、《漢密爾頓》、和《解碼》

為了解決Eminem的問題，作者莫康笙 這樣論述：

音樂不是文學或繪畫，是複雜且肉身無法觸碰的；人類將其用以創造聲響，表達感覺以及與彼此互動。然而，音樂在西方世界時常被視為一封閉系統。每種音樂各有其製作的公式與規則。換言之，音樂會被列入特定的範疇，而其創作的過程受到限制，且形式僵化。但嘻哈音樂全然相反，因它透過取樣與刷碟的技巧供給無限可能性，並將聲音的疆域疊韻去疆域化及再疆域化。這使得嘻哈音樂不滅於時間的考驗，同時持續擴展至其原疆域外，與其他元素連結。在此論文中，我透過德勒茲與瓜塔里的理論例如組裝、去／再疆域化、疊韻、生成等概念，來探索嘻哈音樂。我以派崔克・尼特的《嘻哈星球筆記》、林－曼努爾・米蘭達的《漢密爾頓》、和傑斯的《解碼》為例，分析這

三個文本的獨特性。除了探索這三個文本作為嘻哈的創意組裝外，我也檢視嘻哈的音樂元素，並視察這些具疆域性的響亮疊韻如何開創節奏的能量，以及它們在不同情境如何與各個異類元素互動。