University of Southern California Dissertations and Theses

Radio revolution

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Radio revolution

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RADIO REVOLUTION

Nazli Ghassemi
Specialized Journalism, The Arts
Master of Arts
University of Southern California
August 2018

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Table of Contents

Title Page 1
Table of Contents 2
Acknowledgements 3
Introduction 4
Proposal 5
Appendix: Sizzle Reel Link 22

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Acknowledgements
My deepest thanks go to my thesis committee. Sasha Anawalt, thank you for your
continuous support and belief in me. You give a new meaning to the word “encouragement.”
Thanks for teaching me to speak from a place of passion. It makes all the difference. Dan
Birman, I could not have done this proposal without your generosity of spirit and vison. Thanks
for guiding me every step of the way, helping me find clarity in telling my story. Anne Bray,
thank you for giving me the confidence to bring this project to life, to believe in myself, and my
voice as a woman. You inspire me. I am deeply grateful to have had a chance to learn from and
work alongside all of you in this program. Special thanks to my parents who love and support me
unconditionally and my grandfather, Baba Eiyni, who gets me and believes in my dreams.

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Introduction
This thesis takes the form of a grant proposal for a documentary film titled Radio
Revolution. The story is the retelling of the 1979 revolution in Iran through the eyes of a young
girl. The film is inspired by a recently found audio cassette tape recording I made at the age of
12, in which I pretend to be an adult journalist. I actually report on real events and the turmoil in
the country, capturing the spirit of the times. Based on the audio and present-day interviews, the
film explores children’s point of view of the revolution as we bear witness to historical events
that catapulted our country into a new era, changing our lives forever.

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RADIO REVOLUTION
A young girl’s voice (sounding alarmed): I am reporting this live
while Tehran is covered in smoke and fire. Individuals, whose
identity is unknown are setting fire to movie theatres, banks,
buildings, and department stores. Firefighters are not taking action.
We are now living in a land covered in bloodshed, fights and
conflicts. Mothers and fathers are keeping their children from
attending school. It is possible that no one will go to school this
year. People are killing each other. They are in the right. The ones
who are destitute and have lost their dear ones in these struggles . .
. what other choice do they have but to fight back? People have
turned on their headlights as a sign of solidarity. What kind of life
is this? Everyone’s life and properties are in danger.
– Audio excerpt
In the middle of the Iranian Revolution in the late 1970’s – as the world watched with
curious anticipation, a 12-year-old child living within reach of this critical moment, recorded her
own take on what was happening. I was that girl. And now, I am a journalist using this audio
recording to tell a new story.
Logline
Radio Revolution is a retelling of the 1979 revolution in Iran through the eyes of a 12-year-old
girl. The story is based on a newly-recovered audio tape of her “underground” make-believe
radio show as she reports on her country in turmoil.

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Story summary
Radio Revolution is based on an hour-long, found tape from 40 years ago recorded by Nazli
Ghassemi. This never-heard-before audio is the voice of a 12-year-old girl reporting live on the
1979 Iranian Revolution. She was in eighth grade when Mohammad Reza Shah Pahlavi was
overthrown, and the Islamic Republic was put into place. Through her imaginary play at hosting
a radio program, we are taken into the world of a child caught in the turmoil of a regime change.
The documentary offers a fresh perspective on a sensitive period in Iran, through historic audio
from the tape combined with contemporary animated visuals, archival footage, and present-day
interviews of others who were youngsters at the time.
Background

In July of 1978, Nazli’s parents gave her a mini Sony tape recorder for her 11th birthday. That
same summer coincided with an escalation of outbreaks of anti-Shah protests and unrest around
Iran which had started earlier, in January. Although Iran was experiencing a new era of
Westernization and modernization under its monarch, there was mounting social discontent.
People were beginning to speak out against the widening divide between the rich and the poor,
political oppression, high inflation rates, and censorship. Up to that point, young boys and girls
were busy being kids: playing, attending school, studying, listening to music, and spending time
with family and friends. Politics was the last thing on their minds.
By that summer, anti-government protests became the talk of every household.
Everybody – adults, children, young, old, rich and poor – was talking about a revolution in the
making. As riots continued, the government declared martial law on September 8, 1978. On this
day, subsequently known as the Black Friday, thousands of protestors took to the streets and
dozens were killed.

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Kids were being exposed to the politics of their country at home and at school. Nazli was
no exception. Even though she was from an apolitical family, in no time, her vocabulary
expanded to include words like: injustice, leftists, rightists, mojahed, Islamists, and communists.
Like many others who seemingly became activists overnight, she embraced the excitement,
captured by the spirit of revolt.
Story Structure
Radio Revolution is structured around Nazli’s audio cassette content and her present-day
interviews with other Iranians of her generation, who bore witness to the revolution taking shape
in their country. Her voice as a young girl and as a present-day journalist constitutes the bridge
between the past and present. Archival footage and photographs of Iran in 1979 and the
revolution, together with contemporary animated visuals of the protagonist and her brother,
Azad, as a child, will be interwoven with the talking head interviews.
Girl: We are going to hit the streets to see what people have to say
about this rebel-filled world. We hit the streets.
(The girl makes car honking sounds.)
Girl: Sir, what’s your name. Hurry. We don’t have time.
Boy: Majid.
Girl: Sir, are you satisfied with the government’s actions?
(Boy mutters unintelligibly in a strange accent/language.)
Boy: I am an Arab. I don’t understand.
Girl: Ma’am, what’s your name.
Boy (in a high female voice): Nazi.

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Girl (holding back her laugh): Are you satisfied with the
government?
Boy: No.
Girl: Why?
Boy: Because.
(The girl takes over the answer.)
Girl: Because I can’t go shaking my ass. You know how I am. I
hang out in discos. You know, that’s my job.
– Audi excerpt
The radio show audio serves as the main source in setting the pace and mood of the film.
Through the eyes of children at the time the viewer is taken back to the Iran of 1979. The story
arc will be based on the stories as they unfold in the interviews. We will explore how the events
were being mentally and emotionally processed by the innocent young minds.
Animation (style to be determined) will establish the main character’s activities and life
as she sets out on her journalistic escapades for her radio program. Animation scenes will include
the girl hiding from her parents to record her program, singing pop songs and revolutionary
songs, participating in street protests with her parents, staging sit-ins in her class at school,
distributing flyers in between her dance classes, interpreting the news, and setting up man-on-
the-street interviews with her brother, who appears in different roles throughout the tape.
Present-day interviews, which will be conducted by Nazli Ghassemi (the audio
protagonist), will reveal stories of others her age who were living in Tehran during the political
transition in 1978 - 1979. The interview questions will be in line with the social and political
topics discussed on the audio tape, intending to take the talking heads on a journey back to their

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childhoods, shedding light on their state of mind at the time. The interviews will also reveal how
the revolution triggered life-changing decisions made by their parents that impacted their futures.
Ghassemi’s main challenge as the interviewer will be to help maintain the playful tone of
the audio as the interviewees revisit their memories. The interviews may be conducted in either
Farsi or English, depending on each candidate’s preferences. Subtitles will be provided when
switching between the two languages.
Historic Audio
The tape recordings are in full swing covering the developments and protests that ultimately led
to the regime change over the span of six months – highlighting the main events from
Mohammad Reza Shah Pahlavi’s fleeing Iran to Ayatollah Khomeini’s returning from exile, to
the establishment of the Islamic Republic of Iran. The protagonist reads and analyzes the news of
the following dates: November 4, 1978 (Tehran University Massacre), January 16, 1979 (Shah of
Iran fleeing the country), February 1, 1979 (Imam Khomeini’s returning from exile), February 5,
1979 (election of the interim government), April of 1979 (Iran’s regime change to an Islamic
Republic.) The tape reveals the childhood innocence of the girl and her brother as they confront
fateful historical events in their country.
Girl: Khomeini arrived in Tehran. A designated welcoming party
with authorization permits, were gathered at the airport to welcome
the Imam. They were chanting the Khomeini our Imam slogan.
Khomeini is crying. A few tear drops shed from his eyes. His son
is standing next to him. Upon departure from the airport, it was an
unbelievable sight watching the people around the car he was
riding in. All the people in Tehran had taken to the streets. This is

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not a joke. Shah is ruined. Unless the army comes to his rescue.
– Audio excerpt
The make-believe radio broadcast is peppered with jokes and pop songs sung by the girl.
It captures a childhood world where in the eyes of the protagonist and her brother the revolution
becomes just another fun topic to entertain themselves with. This can be heard throughout the
tape in their playful reaction to serious social and political events.
Girl singing: I'll tell my heart to let it be
Allow your sorrow to find its resting place in me
To take me over body and soul
To let me sing, sing for you again

If you should ever want to be lovers again
To lie down like we did before
Till the crack of dawn

That was a fantastic jazz song. I really enjoyed it. Ok. Let’s hit the
street and check out some liquor stores. But please don’t go telling
the government. Let’s go.
– Audio excerpt
Main Character
Nazli’s pretend play radio recording is first triggered by watching news of the massacre that took
the lives of student protestors at Tehran University on November 4, 1978. This was the first time
National Television was permitted to broadcast footage of bloodshed. This day marks one of the

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turning points of the revolution. Shaken by the shooting scenes, she starts reporting into her tape
recorder.
Girl (sounding distraught): November 4, 1978. Today people took
part in a huge demonstration at Tehran University. Sixty-five
people lost their lives. As the demonstrators were leaving the
university grounds, a group of armed forces opened fire on the
crowd. They were killing people. These images were being
broadcast on TV, shredding viewers’ hearts into pieces.
– Audio excerpt
The protagonist brings the breaking news to her make-believe listeners, keeping them
informed about current affairs as she recounts the headline news, adding her own analysis and
commentaries of the political state of the country. She is not only the presenter; she is also the
news broadcaster, journalist, political analyst, disc jockey and singer.
Girl’s voice in a whisper of urgency: I just received hot breaking
news and that is, Imam Khomeini has appointed the new leader . . .
I mean the prime minister of the government. It’s Bazargan. He
has said that whoever opposes Bazargan in fact opposes Islam,
because Bazargan wants to establish an Islamic republic. I’m
waiting to get more updates on this announcement. Let’s listen to a
song in the meantime.
– Audio excerpt
Supporting Character
The main character engages her six-year-old brother, Azad, to play different roles

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varying from man-on-the-street interviews, to a backup singer performing songs
and chanting hot-off-the-street revolutionary slogans. He is also one of the talking
heads in the film recounting his memories of the time.
Girl: We have here with us in the studio a 7-year-old boy who
claims to have participated in most of the street protests.
Sir. Your name?
Boy: Azad
Girl: How many protests did you participate in?
Boy: Around seven.
Girl: Oh. Ok. Then it’s not that many. Do you know any slogans?
Boy: Yes.
Girl: Chant them for us.
Boy: Reza Shah the puppy.
Girl: Is that all?
Boy: No.
Girl: Chant the rest.
Boy: I know one but it’s very bad.
Girl: It’s no big deal. Let’s hear it.
Boy: Long live Shah. Death to Shah.
Girl: That’s great. Did you enjoy participating in the
demonstrations?
Boy: Yes.

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Girl: The day Shah left did you go out on the streets to see what’s
going on?
Boy: Yes.
Girl: And what did you see?
Boy: People were honking their horns.
Girl: What else?
Boy: They were giving out sweets.
Girl: Did you have fun?
Boy: Yes.
Girl: Would you like to say anything else to our dear listeners?
Boy: No.
Girl: Thank you very much. I enjoyed interviewing you.
– Audio excerpt
Access
We have exclusive access to the audio tape. We are in the process of finding interviewees who fit
our criteria. We plan to include interviews from four to six people throughout the film. These
candidates are based in Los Angeles and in Tehran. The U.S.-based interviews are scheduled for
mid-May 2018. The Iran interviews will be conducted during a visit to Iran in June 2018. The
interviewees will be asked to provide related footage and pictures of themselves.
Present-Day Interviews
The Bowling Ball Effect: Think of the revolution as a bowling ball and the people as the pins. In
1978, the hands of fate rolled the revolution ball towards Iran, knocking the people like bowling

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pins in different directions. Scattered, they flew away, near and far. Depending on their
individual family situations their fates were changed forever.
Interviewee Criteria. The pool of interviewees has been drawn from schoolmates,
acquaintances and references. Ideally, the four to six selected candidates will best satisfy the
following criteria: destiny, family culture, and age as described below.
Destiny. The 1979 revolution dispersed Iranians over the course of years that followed,
while the country was settling into its new state as an Islamic republic. There was a surge of
displacement, immigration, and illegal escapes. Among them were military-age boys who were
fleeing the military draft at the time of Iran-Iraq war. The revolution and war impacted the
interviewees’ lives in different ways. We have divided the candidates into five categories based
on their places of residence in and outside Iran between 1979 and 2017.
The five interviewee groups.
1. IN-placed. The place of residence has always been Iran.
These are the people who could not or chose not to leave Iran after the revolution. They
have stayed IN-place and have gone on with their lives for the past 40 years.
2. RE-placed. The place of residence was another country for a while.
These are the people who left Iran either to continue their education or for other reasons
but returned after a few years. They reside in Iran now.
3. DIS-placed. The place of residence is outside Iran, but they go back to visit once in a
while. These are the people who have left Iran and have built a life in another country.
They still have family ties back home and go back for a visit occasionally.
4. MIS-placed. The place of residence is outside Iran, and they have never gone back.

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These are the people who have left Iran and never returned. The reason for cutting ties
may vary.
5. CO-placed. The place of residence is in two countries: Iran and some other country.
These are the people who have created circumstances to live in-between countries.
(Nazli Ghassemi, the interviewer, is the only one we know who fits this category.
Interviewee Age Range. The main interviewees were in seventh or eighth grade and
living in Iran at the time of the 1979 revolution. The reason for this demographic is to create a
context for the time that binds the main character’s audio content to her own age group’s
concerns and day-to-day lives and stories.
Interviewee Gender. Both male and female.
Interviewee Family Culture. In order for the viewers to get an idea about the diverse
family cultures of the time in Iran, we have chosen candidates that display a spectrum of
different backgrounds, keeping in mind that in 1979 mixed-gender schools were still allowed.
Interviewee Screenings and Location. The screening of candidates will be done in two
phases and in two locations: The United States and Iran. The candidates categorized as DIS-
placed and MIS-placed are based in the United States. The IN-placed and RE-placed candidates
are based in Iran. Interview dates for the U.S.-based interviews have already been set.
Why this Documentary Is Important Today
The story of Radio Revolution matters because my voice as a woman has come to matter.
1
The
stories of young people affected by turmoil in their countries has come to matter. The stories of
immigrants like the protagonist, along with the millions of other displaced people around the
world, have come to matter.
2
Technology has come to matter. Technology has made our

1
http://povmagazine.com/articles/view/beyond-the-female-gaze-and-towards-a-documentary-gender-equality
2
https://www.theglobeandmail.com/arts/film/article-at-torontos-hot-docs-festival-a-distinctly-female-gaze/

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interconnected world a small stage where injustice, repression, sexism and racism are brought
into a spotlight; their exposure is important because the world is watching. The voice of the
journalist matters.
Radio Revolution brings attention to historical audio of a young girl living in a patriarchal
society, documenting a male-centric revolution. Using the technology at my disposal, I express
my views on the political climate around me, voicing my opinion in a Middle Eastern country
where women’s voices have been, and still are, dismissed – even after 40 years. In retrospect, it
is noteworthy that today I have been recognized as a young journalist, a present-day social media
sensation, a blogger, and a YouTube influencer for girls and kids of my generation.
Humanitarian issues such as the uncertain status of DACA (Deferred Action for Children
Arrival) recipients in the United States and the Syrian refugee crisis have made people aware of
how innocent children are affected by dire circumstances in their countries. Young people have
the awareness and the technological means to mobilize, stage protests, and fight for their rights,
as illustrated recently by the Never Again movement started by students at Marjory Stoneman
Douglas High School in Parkland, Florida. This is the time of raising awareness and creating
empathy among people living in a volatile world.
Sharing stories is essential, impactful and inspiring in our tightly-knit interconnected
world today. As a woman, a storyteller, and someone who has had the privilege of traveling
around the world, I have learned to embrace and appreciate our differences and diversity across
the globe. I believe that only through getting to know each other by sharing our stories can we
awaken an understanding of our common humanity. My main objective in my novel Desert
Mojito, published in 2013, was to educate and entertain and shed light onto misconceptions about

17
the cultural differences between the East and the West. Radio Revolution is a continuation of the
same impulse: to familiarize and humanize.
In the past 40 years, Iran’s image around the world has come to be associated with
fundamentalism and “terrorism.”
3
In my experience, this image is a misrepresentation of a nation
being judged by the actions of its government. I hope to replace negative blind judgement of a
nation and stereotypes of its people by creating empathy and compassion through retelling the
story of revolution through the eyes of children.
An impactful similar example is Marjane Satrapi’s critically acclaimed graphic memoir
Persepolis (pub. 2003), in which, from a child’s-eye-view, Satrapi shares her memories of life
growing up in the Islamic Republic of Iran. The book, which was turned into an animated feature
film in 2008, focuses on the state of affairs in Iran after the revolution of 1979. Radio Revolution
is different in that it focuses on the story of revolution, not its aftermath, as in the case of
Satrapi’s story. The structure of the film is also very different in that it is a documentary based
on a LIVE-audio, reportage-style narrative, not a memoir. Furthermore, through present-day
interviews, the film hopes to shed some light on what was going on in the minds of young people
at the time, exploring universal themes such as innocence, nostalgia, turmoil, separation, fear and
hope.
Artistic Approach
What makes this story unique is that it is a compelling oral narrative, 40 years before social
media and citizen news were in vogue. Her playfulness imbues the film with an innocent spirit
that not only simplifies but also lightens the heavy impact of events. Use of animation

3
https://www.cnn.com/2017/07/19/politics/state-country-terror-report/index.html

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interwoven with archival footage of the revolution is a suitable method for reflecting the
childhood world she inhabits.
Project Stage and Timeline
The project is in its preproduction phase. We are in the process of meeting private funders,
producers, and selecting our film crew. The transcription and translation of the audio-tape have
been completed. Archival material has been researched and sourced. Selection of the animators
is in progress. The screening of interviewees based in the U.S. will start in April. Filming of the
US-based interviews is scheduled for mid-May 2018. The screening and interviews in Iran are
scheduled for mid-June 2018. Filming of the Iran-based candidates will follow in July of 2018.
The anticipated release date is January of 2019, which also coincides with the 40-year journey of
the 12-year olds since the revolution.
Distribution and Marketing Strategy
We are approaching numerous documentary and news channels broadcasting via satellite to Iran
and neighboring countries such as BBC (UK), Aljazeera (Qatar), DW (Germany), RFI (France),
TRT (Turkey), and VOA (US). We are also reaching out to streaming services such as YouTube
Red, Sundance Channel, Amazon Prime, and Netflix. We will promote the film in the Iranian
community via organizations such as Harvard’s Iranian Oral History Project, the Farhang
Foundation (the largest Iranian arts and culture non-profit organization in Los Angeles),
Docunight (dedicated to monthly screenings of documentaries related to Iran across 26 cities in
North America), UCLA’s Celebration of Iranian Cinema (held in May in collaboration with the
Farhang Foundation and the San Diego-based Iranian Cultural Center). We will also schedule a
talk at the annual meeting of the Iranian-American Women’s Foundation. We have connections
for advertising our film screenings at Gooya, the Persian portal for Iran news, art, and culture.

19
We will use our existing online social media platforms to reach our personal networks. Creation
of a website and Facebook page for the film is underway. We will submit the film to local and
national film festivals, including specific festivals for women such as the Los Angeles Women’s
International Film Festival, NETV, Women’s Voices Now, and Women Make Movies.
Intended Audience
Although the film may be of special interest to the Iranian audience living in diaspora, the story
is relevant to all people who have left “home” due to unforeseen circumstances in their own
countries. Furthermore, Radio Revolution is both an educational and entertaining film that will
appeal to anyone interested in learning about the 1979 revolution in Iran in a simplified and clear
manner. Given that the story is told through the eyes of a 12-year-old girl with access to what
was then new technology, it will be of interest to aspiring young journalists who have a new
generation of technology at their fingertips.
Key Creative Personnel
Writer/Director. Nazli Ghassemi is a writer, journalist, and novelist. She was born in
Iran and has lived and traveled extensively in America, Europe, and the Middle East. She has a
B.S. in Biomedical Engineering from the University of California, San Diego, and is completing
her M.A. in Specialized Arts Journalism at the University of Southern California. She has
collaborated internationally and locally with artists and art projects, including curatorial
practices, researching proposals, writings, video performance, installation, exhibition reviews,
and brochure statements. Her writings and poetry have appeared in Artforum, Hyperallergic,
Carnegie International Magazine, Elephant Magazine, and Modern Painters, Reorient. Her
novel, Desert Mojito, was published in 2013.

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Editor/Director. Pedram Missaghi was born in Iran and migrated to San Diego,
California in 1988. He has a Bachelor of Art degree in Computer Science and Visual Art from
the University of California, San Diego, and an MBA from the Marshall School of Business at
the University of Southern California. He was the editor of E Minha Cara, a social documentary
about the history of race and family in the United States. He was the chief research and archival
advisor on Hayedeh Legendary Persian Diva, a documentary broadcast on the BBC. He is also
the founder of Tehran Parirooz, an Iranian oral history and archive project.
Fundraising Strategy
We expect to tap into established organizations that already fund Iranian oral history projects and
support women filmmakers. In order to secure some funding for this project, we will approach
streaming channels, including YouTube Red, Netflix and Sundance Channel, who support
independent filmmakers. There are also numerous news channels broadcasting to Iran that
purchase content and might help fund this project. We are approaching private donors/investors
who support Iranian art and culture in general. Additional marketing strategies for getting
exposure include raising funds on Kickstarter and Indiegogo.

Source Amount Status
Iranian Oral History Project at Harvard $10,000 In process
Toos Foundation $15,000 In process
PARSA Center for Iranian Jewish Oral History $10,000 In process
Glassbreaker Films Women in Docs Grants $15,000 In process
Women’s Voices Now $10,000 In process
Broadcast License (BBC Persian) $15,000 In process
Broadcast License (Aljazeera) $18,000 In process
Private Investment $15,000 Secured
Chantal Paydar Foundation $5,000 In negotiation
Kickstarter & Indiegogo $25,000 In process

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Preliminary Budget

Research Material

Online
subscriptions

$200.00
Sample footage

$1,500.00

Interviews

Equipment Rental

$5,000.00
Camera operator

$7,800.00
Audio

$5,900.00
Lighting

$2,000.00

Travel

Interviews in US

$8,000.00
Interviews in Iran

$15,000.00

Production

Equipment

$5,500.00
Software

$980.00
Archival material

$20,000.00
Media conversion

$2,000.00
Animation

$25,000.00
Music

$6,000.00
Post Production

$16,000.00

Marketing

Website

$900.00
Promo Reel

$2,500.00
Online advertising

$7,000.00
Film Festival submissions $2,500.00

TOTAL

$133,780.00

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Appendix A

Link to Sizzle Reel: https://www.youtube.com/watch?v=tg0jetWaC9M

Abstract (if available)

Abstract This thesis takes the form of a grant proposal for a documentary film titled Radio Revolution. The story is the retelling of the 1979 revolution in Iran through the eyes of a young girl. The film is inspired by a recently found audio cassette tape recording I made at the age of 12, in which I pretend to be an adult journalist. I actually report on real events and the turmoil in the country, capturing the spirit of the times. Based on the audio and present-day interviews, the film explores children’s point of view of the revolution as we bear witness to historical events that catapulted our country into a new era, changing our lives forever.

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Asset Metadata

Creator Ghassemi, Nazli (author)

Core Title Radio revolution

School Annenberg School for Communication

Degree Master of Arts

Degree Program Specialized Journalism (The Arts)

Publication Date 07/30/2020

Defense Date 08/01/2018

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag 1979 revolution,children and revolution,historical audio,Iran,Iranian Revolution,Middle East,OAI-PMH Harvest

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Anawalt, Sasha (committee chair)

Creator Email nazligha@usc.edu,nazlighassemi11@gmail.com

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-40908

Unique identifier UC11671913

Identifier etd-GhassemiNa-6565.pdf (filename),usctheses-c89-40908 (legacy record id)

Legacy Identifier etd-GhassemiNa-6565.pdf

Dmrecord 40908

Document Type Thesis

Format application/pdf (imt)

Rights Ghassemi, Nazli

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA