Doctor Strange's New Writeupshttp://everything2.com/?node=New%20Writeups%20Atom%20Feed&foruser=Doctor Strange2003-01-23T20:24:26Zexpenses (idea)http://everything2.com/user/Doctor+Strange/writeups/expensesDoctor Strangehttp://everything2.com/user/Doctor+Strange2003-01-23T20:24:26Z2003-01-23T20:24:26Z<p><b>Expenses</b> (sometime contracted to <b>"exes"</b>)is a term in <a href="/title/British+office+speak">British office speak</a> used to refer to the <a href="/title/attributable+treats">attributable treats</a>, out of pocket expenditures and miscellaneous other perquisites of the <a href="/title/9+to+5+office+worker">9 to 5 office worker</a>'s existence such as expenditure incurred in travelling to outlying branches (or, conversely to head office if your place of languishment should be some dim and dismal outpost of the <a href="/title/corporate+empire">corporate empire</a>), and just occasionally the decent lunch paid for by the company when entertaining some visiting and significant customer or <a href="/title/panjandrum">panjandrum</a>. The unfortunate <a href="/title/logical+corollary">logical corollary</a> of expenses is the <a href="/title/expenses+form">expenses form</a>, a salutary reminder of the implicit <a href="/title/moral+culpability">moral culpability</a> of the spending of <a href="/title/company+money">company money</a> usually to be <a href="/title/completed+in+triplicate">completed in triplicate</a>, <a href="/title/signed+in+blood">signed in blood</a> and <a href="/title/delivered+with+head+bowed+and+upon+bended+knee">delivered with head bowed and upon bended knee</a> to the <a href="/title/accounts+department">accounts department</a>. In order to reinforce the notion that the incurring of expenses is an undesirable trait in an <a href="/title/employee">employee</a>, the process of reimbursement is a slow<!-- close unclosed tag --></p>…sleng teng (thing)http://everything2.com/user/Doctor+Strange/writeups/sleng+tengDoctor Strangehttp://everything2.com/user/Doctor+Strange2003-01-22T22:34:19Z2003-01-22T22:34:19Z<p><b>Sleng teng</b> was a form of <a href="/title/reggae">reggae</a> which made early and extensive use of <a href="/title/digital+rhythms">digital rhythms</a> in a music which had previously paid little attention to <a href="/title/electronica">electronica</a>. The song which opened the way for what was to become a major point of change for reggae in the mid 1980s was <a href="/title/Wayne+Smith">Wayne Smith</a>'s<a href="/title/1985">1985</a> single <a href="/title/Under+Me+Sleng+Teng">Under Me Sleng Teng</a>.
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<br>The <a href="/title/London">London</a> <a href="/title/Capital+Radio">Capital Radio</a> <a href="/title/DJ">DJ</a> <a href="/title/David+Roddigan">David Roddigan</a> was instrumental in moving <a href="/title/sleng+teng">sleng teng</a> into the attention of the British reggae-loving public with a now-legendary <a href="/title/dub-plate+clash">dub-plate clash</a> with celebrated <a href="/title/Jamaica">Jamaica</a>n DJ <a href="/title/Barry+G">Barry G</a>; tapes of this sound-clash are still played by the <a href="/title/reggae+cognoscenti">reggae cognoscenti</a>.
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<br>Other important songs within this genre include:
<br><a href="/title/Tenor+Saw">Tenor Saw</a> - <a href="/title/Pumpkin+Belly">Pumpkin Belly</a>
<br><a href="/title/Tanto+Irie">Tanto Irie</a> - <a href="/title/Every+Posse+Get+Ready">Every Posse Get Ready</a>
<br><a href="/title/Patrick+Andy">Patrick Andy</a> - <a href="/title/Sting+Mi+A+Sting">Sting Mi A Sting</a></p>rembetika (thing)http://everything2.com/user/Doctor+Strange/writeups/rembetikaDoctor Strangehttp://everything2.com/user/Doctor+Strange2003-01-21T22:13:54Z2003-01-21T22:13:54Z<small><i>Music began - all rembetes know it - with a howl lamenting a loss. The howl became a prayer and from the hope in the prayer started music, which can never forget its origin. In it, hope and loss are a pair.</i></small>
<a href="/title/John+Berger">John Berger</a>,<a href="/title/To+the+Wedding">To the Wedding</a>
<p><b>Rembetika</b> is a form of <a href="/title/Greek+music">Greek music</a> which originated in the <a href="/title/Greece">Greek</a> <a href="/title/hashish">hashish</a> rooms knowns as <i>Tepes</i> in and around major Greek conurbations in the early part of the 20th century. For a fuller discussion of the music and its origins see the article describing the singular form of the word, <i><a href="/title/rembetiko">rembetiko</a></i> </p>
<p>Rembetika was, and, to an extent, still is the music of a largely <a href="/title/marginalised+subculture">marginalised subculture</a>, strongly anti-authoritarian in tone and tenor. It was inevitably banned and driven underground by the conservative police authorities. Its exponents were known as <i>rembetes</i></p>
<p>The instruments most associated with rembetika are the <a href="/title/bouzouki">bouzouki</a>, an instrument similar to the <a href="/title/lute">lute</a> and the <a href="/title/baglama">baglama</a><!-- close unclosed tag --></p>…Erving Goffman (person)http://everything2.com/user/Doctor+Strange/writeups/Erving+GoffmanDoctor Strangehttp://everything2.com/user/Doctor+Strange2003-01-20T14:29:33Z2003-01-20T14:29:33Z<b>Erving Goffman</b> (1922 - 1982) was a <a href="/title/Canada">Canadian</a> <a href="/title/sociologist">sociologist</a> involved in a school of sociological research which came to be known as <a href="/title/ethnomethodology">ethnomethodology</a>, although he is probably more accurately defined as a <a href="/title/symbolic+interactionist">symbolic interactionist</a>. This form of research owes something to <a href="/title/B.F.+Skinner">B.F. Skinner</a>'s behavioural studies of the 1920s and 30s, although it is considerably less reliant upon empiricist measurement and is proportionately more dependant upon observation.
<p>He is best known for a semi-<a href="/title/vox-pop">vox-pop</a> take upon performance-oriented social representation: <a href="/title/The+Presentation+of+Self+in+Everyday+Life">The Presentation of Self in Everyday Life</a>. This work assesses, in a modular fashion, the components of mundane social interaction and draws a clear delineation between two distinct forms of social behaviour which Goffman characterises as <a href="/title/on-stage+behaviour">on-stage behaviour</a> and its obverse, <a href="/title/off-stage+behaviour">off-stage behaviour</a>. While this is fascinating stuff, it should be noted that there are a number of obvious incompletenesses and other apparent deficiencies within the work,<!-- close unclosed tag --></p>…Vafthruthnismol (thing)http://everything2.com/user/Doctor+Strange/writeups/VafthruthnismolDoctor Strangehttp://everything2.com/user/Doctor+Strange2003-01-09T17:19:50Z2003-01-09T17:19:50ZThe <b>Vafthruthnismol</b>,( also spelt <b>Vafthruthnismal</b>), ("The Lay of Vafthruthnir"), is a conversation in <a href="/title/verse+form">verse form</a> in the <a href="/title/Elder+Edda">Elder Edda</a> conducted initially between <a href="/title/Odin">Odin</a> and <a href="/title/Frigg">Frigg</a>, and then between Odin and the <a href="/title/giant">giant</a> <a href="/title/Vafthruthnir">Vafthruthnir</a>.
The <a href="/title/lay">lay</a> commences with Odin asking Frigg for directions to the hall of Vafthruthnir. Frigg advises against this course of action, saying that Vafthruthnir is an extremely powerful and dangerous <a href="/title/giant">giant</a>. Odin however is determined to continue with his quest.
On arriving at Vafthruthnir's hall, Odin seeks to test Vafthruthnir's <a href="/title/wisdom">wisdom</a>. Vathruthnir's response is threatening in the extreme, saying that the only wisdom he will acquire is death, unless Odin is the wiser. Odin (the original hooded deceiver) passes himself off as <i><a href="/title/Gagnrad">Gagnrad</a></i> (which translates as "victory"), and demands the traditional hospitality that should be offered to wayfarers. Vafthruthnir, wrong-footed, has little or no option but to invite him in and seat himself. A game…La Tène (thing)http://everything2.com/user/Doctor+Strange/writeups/La+T%25C3%25A8neDoctor Strangehttp://everything2.com/user/Doctor+Strange2003-01-09T16:39:45Z2003-01-09T16:39:45ZThe <b>La Tène culture</b> was a late <a href="/title/Iron+Age">Iron Age</a> culture, primarily associated with the <a href="/title/archaeological+site">archaeological site</a> uncovered in 1857 by <a href="/title/Hansli+Kopp">Hansli Kopp</a> at <a href="/title/La+T%25C3%25A8ne">La Tène</a> on the northern shores of <a href="/title/Lake+Neuchatel">Lake Neuchatel</a> in <a href="/title/Switzerland">Switzerland</a>.
Although the notion of La Tène has ostensibly a <a href="/title/geography">geographical</a> basis, the term is used within archaeology mainly in a <a href="/title/periodic">periodic</a> sense. The artefacts uncovered were <a href="/title/Celtic">Celtic</a> and indicate a significant progression from the earlier <a href="/title/Hallstatt+Culture">Hallstatt Culture</a>. There were three fairly well-defined La Tène periods: Early La Tène from c. 600 - 500 BC; Middle La Tène from 300 - 100 BC and Late La Tène which was from 100 BC until the time when the expansionist <a href="/title/Roman">Roman</a> incursion into central <a href="/title/Europe">Europe</a> was to curtail Celtic dominance.
La Tène carries also a strong denotation of the <a href="/title/cultural">cultural</a> presence of the <a href="/title/Celts">Celts</a> and strongly partitions them from many of the other mainland European pre-Roman tribes; the La Tène people were heavily involved in <a href="/title/art">art</a>, <a href="/title/style">style</a>, <a href="/title/power">power</a> and <a href="/title/affluence">affluence</a>…