The most acclaimed singer/songwriter of his generation, first a Beatle and then a boundary-pushing solo artist, was senselessly silenced forever at age forty; immediately, his final musical statement, an intimate, pop-infused collection called Double Fantasy, released only weeks before his death, skyrocketed to #1 worldwide, as did its poignantly titled single, "(Just Like) Starting Over." His first studio recording since 1975’s Rock ’n’ Roll—and his first musical endeavor of any kind since taking a much-needed hiatus to raise Sean, his son with Yoko Ono—Double Fantasy represents more than a comeback album to Lennon fans and music critics alike. It captures a cultural icon at the pinnacle of his creative success and personal fulfillment; thirty years later it remains a musical touchstone and an affecting reminder of what could have been.Starting Over is an oral history of the making of Double Fantasy and the definitive account of John Lennon’s last days. From early demos to sessions at New York City’s The Hit Factory, from the electrifying chemistry of the studio band to keeping the project under wraps to the album’s release and critical reception, here is fascinating, insightful commentary from all of the key players involved in its extraordinary creation: Yoko Ono, David Geffen, producer Jack Douglas, engineers, arrangers, session musicians, music journalists, and even Lennon himself via archival interviews.Featuring never-before-seen photos of John and Yoko in the studio, candid images taken by David M. Spindel and Roger Farrington, Starting Over is the essential portrait for anyone who hears both a beginning and ending in the tracks of Double Fantasy.

    The story of Finn and Hengest, two fifth-century heroes in northern Europe, is told both in Beowulf and in a fragmentary Anglo-Saxon poem known as The Fight at Finnsburg, but so obscurely and allusively that its interpretation had been a matter of controversy for over 100 years. Bringing his unique combination of philological erudition and poetic imagination to the task, however, Tolkien revealed a classic tragedy of divided loyalties, of vengeance, blood and death. The story has the added attraction that it describes the events immediately preceding the first Germanic invasion of Britain which was led by Hengest himself.

    He describes the Arthurian Age as 'the starting point of future British history', for it saw the transition from Roman Britain to Great Britain, the establishment of England, Scotland, Ireland and Wales from the collapse of the Pax Romana. In exploring political, social, economic, religious and cultural history from the fourth to the seventh century, his theme is one of continuity. That continuity is embodied in Arthur himself: 'in name he was the last Roman Emperor, but he ruled as the first medieval king.'

    But some months later, when a second brother is killed near Lincoln, and then a third is wounded, it becomes obvious that a deadly campaign is being waged against the warrior monks.In concert with Gerard Camville, the sheriff of Lincoln, Bascot investigates the murders but, despite their best efforts, not a trace of the killer is discovered. As the attacks continue, both are frustrated by the lack of clues to his identity, and it is not until an unexpected witness comes forward with revealing evidence that a trail is found for them to follow.

    An account of the earliest Englishwomen; the part they played in the making of England, what they did in peace and war, the impressions they left in Britain and on the continent, how they were recorded in the chronicles and how they came alive in heroic verse and riddles.

    But before this instant accessibility and dizzying array of formats before CDs, the eight-track tape, the radio, and the turntable there was only one recording technology: music notation. It allowed singers and soloists to travel across great distances and perform their work with stunning fidelity, a feat that we now very much take for granted. Thomas Forrest Kelly transports us to the lively and complex world of monks and monasteries, of a dove singing holy chants into the ear of a saint, and of bustling activity in the Cathedral of Notre Dame an era when the only way to share even the simplest song was to learn it by rote, church to church and person to person. With clarity and a sense of wonder, Kelly tells a story that spans five hundred years, leading us on a journey through medieval Europe and showing how we learned to keep track of rhythm, melody, and precise pitch with a degree of accuracy previously unimagined.Kelly reveals the technological advances that led us to the system of notation we use today, placing each step of its evolution in its cultural and intellectual context. Companion recordings by the renowned Blue Heron ensemble are paired with vibrant illuminated manuscripts, bringing the art to life and allowing readers to experience something of the marvel that medieval writers must have felt when they figured out how to capture music for all time."

    High quality photos of the original pages. “The Codex Gigas (English: Giant Book) is the largest extant medieval manuscript in the world. It is also known as the Devil's Bible because of a large illustration of The Devil on the inside and the legend surrounding its creation. It is thought to have been created in the early 12th century in the Benedictine monastery of Podlažice in Bohemia (modern Czech Republic). It contains the Vulgate Bible as well as many historical documents all written in Latin.”

    Because the source material is so meager for much of early British history, Mr. Blair is careful to explain just how scholars have arrived at an accurate knowledge of the first 900 years.The real history of Britain begins with the Roman occupation, for the Romans were the first to leave substantial documentary and archaeological evidence. After the governorship of Agricola the written sources almost entirely disappear until the early Anglo-Saxon era of the fifth century; but archaeologists have been able to gather a great deal of information about the intervening centuries from excavations of old walled towns, roads, and fortresses dating from the Roman period. Mr. Blair skillfully describes the transition from Roman to Saxon England and shows why Rome's greatest legacy to her former colony—Christianity—flowered within Anglo-Saxon culture. The source material on Saxon England is mainly documentary, as these new inhabitants built in wood and little archaeological evidence has survived. However, Bede's Ecclesiatical History of the English Nation and other great Christian writings, the Anglo-Saxon Chronicle, Beowulf, the stories of Caedmon, and other poems and epics in the Germanic minstrelsy tradition, have revealed much about English economic, social, and cultural life up to the accession of Alfred the Great.

    A youth called Alric is captured and his brother, thirteen year old Jørren, decides to undertake the seemingly impossible task of rescuing him. Accompanied only by a slave not much older than he is, Jørren sets out to find Alric. His quest takes him into war-torn East Anglia and up through Northumbria as far as Hadrian’s Wall. On the way he gathers a rag-tag collection of orphans and welds them into a small, tightly-knit, warband. They play a small, but important, part in the struggle against the Vikings before eventually reaching Wessex, where Alfred has just become king. Now older and an experienced warrior, Jørren joins him and over subsequent years rises in status to become one of Wessex’s ealdormen. However, the Vikings are determined to defeat Alfred and complete their conquest of England. By 871 AD it is doubtful whether Jørren or Wessex itself can survive their onslaught. This first novel in the Saga of Wessex series will enthral all readers who have come to love H A Culley’s previous books set in early medieval Northumbria.

    

    Here you'll meet, among many others, the 20s film idols snorting cocaine from an illuminated glass dance floor on the bank of the Thames, the model who escaped Soho's gangsters to become the queen of the nudie flicks and the genteel Scottish comedienne who, at the age of fifty-five, reinvented herself as a star of exploitation cinema, and fondly remembers 'the one where I drilled in people's heads and ate their brains'. Welcome to the lost worlds of British cinema.

    Her sex was a barrier to everything she wanted: freedom, adventure, and the need to be heard. Fascinated by tales of the misty Highlands when the opportunity arises, she flees secretly to Edinburgh.But the world is much more wicked than Gillian knows, and the noble Highlander she encounters might have ulterior motives.With his people suffering from poverty and hunger, Col, a fierce Scotsman, decides to defy fate. He turns himself into the Phantom and provides for the Scottish by pillaging the English.When he meets the most striking lass, he will be immediately charmed by her boldness and beauty.Until he discovers that her family is responsible for all his life's tragedies. And so, he captures her without knowing that he is the lesser of the evils after her.Gillian is not aware that she is in grave danger, and that without Col's help, nothing can stop her impending death.He captured her to save his people, but she stole his heart…

    The Underground Empire is the result of Life reporter James Mills's behind-the-scenes investigation which spanned five years and traversed four continents. With recent media attention propelling the narcotics issue into the nation's headlines, Mills dramatically addresses this issue with stunning depth to explain why we're losing the most important war of our time. Everything in this book is true: no changed names, scenes, characters or dialogues. The Underground Empire, James Mills, Doubleday, 1st edition, 1986, ISBN # 0-385-17535-3. 1,165 pages. Description: Book; Gray boards with black cloth spine, gold lettering to spine and gold script of author's name on front board, red endpapers. Dust jacket; White with black blocks with white text and red splatter on front panel, black and red lettering to the spine, back panel has blurb for this book and author's bio (Report to the Commissioner, Panic in Needle Park), inside flaps carry second blurb for this book, jacket not price clipped, dated 0686 on bottom of the back flap. Condition: Book; Very good with some soiling to top edge of the pages, boards are bright and tight and clean, free of any dings, rubbing or creases to this very thick spine, all the gold lettering is strong but some letters, especially the publisher's name, are hand soiled. Inside red end paper has a black smudge on the upper back area about 1-inch long. No other marks. Dust jacket; Very good with bright and clean panels, not price clipped, chips along the edges of the spine, one closed tear at the bottom of front board, slight sunning to all panels but still bright, points chipped. Jacket now protected in Brodart.

    While the storm clouds of the Wars of the Roses gather in fifteenth century London, Barnabas, a streetwise thirteen year-old orphan, dreams of sailing away to foreign countries. His mistress, Margery Jourdemayne, the Witch of Eye, and his guardian, CanonThomas Southwell, plot to use his clairvoyant talents to further their ambitions. Vain and ambitious Eleanor, Duchess of Gloucester, turns to the Witch of Eye to conceive a child to secure her position as the wife of the heir to the throne, but her husband’s enemies are determined to use her actions to bring about his downfall. Can this young imp, Barnabas, steer a safe path through the dangerous web of intrigue and suspicion that surrounds him? Will his ‘sight’ save him from burning in the flames of a witch’s pyre? And will Eleanor conceive a child, or will her follies prove her undoing?Rich with historical detail and suspense, this novel captures the imagination. "Fast-paced and moving, ‘The Imp of Eye’ is the memorable story of real events told in the distinctive voice of a unique and loveable character." – Karen Charlton, author of The Detective Lavender Mysteries"A jewel of a story, set among the royal courts and the dark alleys of medieval London, where intrigue, betrayal and witchcraft are woven into a poisoned web to trap the innocent. The characters are so compelling that I was struggling to breathe as the net tightened around them. This is story-telling at its best."- Karen Maitland, author of 'Company of Liars'

    This is the true story of Aethelflaed, the ‘Lady of the Mercians’, daughter of Alfred the Great. She was the only female leader of an Anglo-Saxon kingdom. Born into the royal house of Wessex at the height of the Viking wars, she is sent to her aunt in Mercia as a foster-child, only to return home when the Vikings overrun Mercia. In Wessex, she witnesses another Viking attack and this compounds her fear of the enemy. She falls in love with a Mercian lord but is heartbroken to be given as bride to the ruler of Mercia to seal the alliance between the two Anglo-Saxon kingdoms. She must learn to subjugate her feelings for her first love, overcome her indifference to her husband and win the hearts of the Mercians who despise her as a foreigner and twice make an attempt on her life. When her husband falls ill and is incapacitated, she has to learn to rule and lead an army in his stead. Eventually she must fight to save her adopted Mercia from the Vikings and, ultimately, her own brother.