Top Forty jocks screamed and yelled and sounded mightier than God on millions of transistor radios. But on FM radio it was all spun out for only you. On a golden web by a master weaver driven by fifty thousand magical watts of crystal clear power . . . before the days of trashy, hedonistic dumbspeak and disposable three-minute ditties . . . in the days where rock lived at many addresses in many cities."–from FMAs a young man, Richard Neer dreamed of landing a job at WNEW in New York–one of the revolutionary FM stations across the country that were changing the face of radio by rejecting strict formatting and letting disc jockeys play whatever they wanted. He felt that when he got there, he’d have made the big time. Little did he know he’d have shaped rock history as well.FM: The Rise and Fall of Rock Radio chronicles the birth, growth, and death of free-form rock-and-roll radio through the stories of the movement’s flagship stations. In the late sixties and early seventies–at stations like KSAN in San Francisco, WBCN in Boston, WMMR in Philadelphia, KMET in Los Angeles, WNEW, and others–disc jockeys became the gatekeepers, critics, and gurus of new music. Jocks like Scott Muni, Vin Scelsa, Jonathan Schwartz, and Neer developed loyal followings and had incredible influence on their listeners and on the early careers of artists such as Bruce Springsteen, Genesis, the Cars, and many others.Full of fascinating firsthand stories, FM documents the commodification of an iconoclastic phenomenon, revealing how counterculture was coopted and consumed by the mainstream. Richard Neer was an eyewitness to, and participant in, this history. FM is the tale of his exhilarating ride.

    This is such a book. For more than two years, Linda Cateura has pursued teacher / artist David A. Leffel, notebook in hand, as he critiqued the work of students. Linda Cateura's succinct notes capture his insights, philosophy, painting hints, and general comments.Leffel's classic, painterly, twentieth-century old master style, much in the manner of Rembrandt or Chardin, affords ample illustration of the ideas expressed - through his many paintings, details, demonstrations, and diagrams, almost all in color.No matter what your level of ability, there is something here to apply to your own work, ideas that will cause you to rething your own ways of painting, hints to save you effort, or solutions to persistent painting problems.

    Your Action World parodies the "inspirational" promotional materialsincluding books, tapes, and corporate advertising - with which we are inundated daily. Byrne's impulse is to fight back, "to stem the tide of images and bullying texts that assault all of us, by building dikes and dams of my own images and texts. To understand the enemy I must become one with the enemy, I must be of one mind with the enemy. I must infect myself in order to be immunized." An intelligent, quirky document from one of our most innovative artistswith a cool debossed PVC cover and 4-color stickerYour Action World will be the cult hit of the season.

    The system of shorthand wasinvented by Sir Issac Pitman, who in 1837 published his firsttreatise on the art. No other system of shorthand designed for theEnglish language has been subjected to tests so prolonged, sodiverse, and so severe as those which Pitman Shorthand ? as thesystem is now generally styled ? has undergone since itsintroduction, with the result that it has been most successfullyadapted to the practical requirements of all classes of shorthandwriters. For Sale in Indiansubcontinent only Pitman&'s system has a number of useful features: It is phonetic. Using very simple strokes of the pencil, sounds are written down and not the letters themselves. Vowel sounds are optional and are written with small dots, dashes or other shapes next to the main strokes. This saves time in writing when the consonants alone make clear what the word is. In the majority of cases, the consonants alone can clearly identify an English word. The strokes used vary in sound depending on a number of rules. It matters whether the strokes are thick or thin and whether the first stroke of a word is above, on or through the line on the paper. Halving or doubling the length of a stroke is also significant. The system developed a large number of "short forms". For example, the letters "th" can represent two sounds (called "unvoiced" and "voiced" th). In Pitman Shorthand they are represented by a curved stroke similar to an open bracket: ( . The thin stroke ( represents the sound of "th" as in the words "thank" and "think", and in fact the single stroke is also used as a short form for these words. The thick stroke ( represents the sound of "th" as in the words "though" and "they"/"them" and is likewise used as the short form for those words as well. I. The Consonants II. The Vowels III. Intervening Vowels andPosition Grammalogues, Punctuation IV. Alt

    Since the 1980s, Goldin has consistently created photographs that are intimate and compelling: they tell personal stories of relationships, friendships and identity, while chronicling different eras and exposing the passage of time.This book features a significant body of the latest work by Goldin, including photographs from new series such as Still on Earth (1997-2001), 57 Days (2000) and Elements (1995-2003), many of which are previously unpublished. Laid out in diary-like sequences by Goldin herself, the material is both courageously candid and affirmative. The photographs are grouped into themed chapters, between which are interspersed texts, poems and lyrics by prominent writers, including Nick Cave, Catherine Lampert, Cookie Mueller and Richard Price. The Devil's Playground is the first major book to be published on Goldin's work since 1996 and it is by far her most important to date.This monograph brings to light both the sources of Goldin's inspiration and her life as a prominent contemporary artist: she is internationally recognized as one of today's leading photographers. Born in Washington DC, Goldin grew up in Boston where she began taking photographs at the age of 15. She has since lived in New York, Bangkok, Berlin, Tokyo and Paris, amassing an extensive body of work that represents an often disconcertingly seductive photographic portrait of our time.

    And I don't just regurgitate the same old spiel that you find in 95% of guidebooks. It's not the kind of guide where I just tell you the basics, and leave it at that. I'll take you inside each location and share my experiences with you. Maybe I enjoyed them, and maybe I didn't... I'll give you an honest opinion, alongside exact information about opening times and prices. If you're new to London then I'll explain how to ride the buses, taxis and trains, and if you enjoy walking then I've created some self-guided walks (bonus chapter in ebook only), plus two weeks-worth of example itineraries. I've also included some Top 10 lists, a chapter full of popular day trips, and a review of every hotel I've ever stayed at, from the Premier Inn to The Ritz. It's a good little travel companion to keep in your pocket."London - A Visitor's Guide from http://www.londondrum.

    Vale brought together the work of groundbreaking novelist William Burroughs and avant-garde painter Brion Gysin (already linked by their collaborations in the “cut-up” method of artistic creation) with the founders of industrial music, Throbbing Gristle, for this seminal document of ‘80s underground culture. Originally published in 1982, the book combined “primary source interviews,” in which subjects discuss advanced ideas involving the social control process, creativity, and the future; scarce essays; rare fiction excerpts; bibliographies; discographies; and biographies. The book quickly became a celebrated addition to RE/Search’s notorious list and to the canon of ‘80s subculture. This expanded edition contains previously unpublished interviews with Burroughs, Gysin, and Throbbing Gristle by V. Vale; a new article on Throbbing Gristle with photographs; unseen photographs of Burroughs; and much more to satisfy both the Burroughs, Gysin, and Gristle completist and anyone who wants to make sense of the kinds of cultural assaults they embodied.

    PEDERSONThe Unforgettable Psychological ThrillerWinner of the Nobel PrizeEXCERPTS"I opened the window and looked out. From where I was standing I had a view of a clothes, line and an open field. Farther away lay the ruins of a burnt-out smithy, which some labourers were busy clearing away. I leant with my elbows resting on the window-frame and gazed into open space. It promised to be a clear day--autumn, that tender, cool time of the year, when all things change their colour, and die, had come to us. The ever- increasing noise in the streets lured me out. The bare room, the floor of which rocked up and down with every step I took across it, seemed like a gasping, sinister coffin. There was no proper fastening to the door, either, and no stove. I used to lie on my socks at night to dry them a little by the morning. The only thing I had to divert myself with was a little red rocking-chair, in which I used to sit in the evenings and doze and muse on all manner of things." "Yes, it was clear that it was the same man he had driven. He recognized him--and he drove so that the horse's shoes struck sparks as they touched the stones.All through this phase of excitement I had not for one second lost my presence of mind. We pass a policeman, and I notice his number is 69. This number struck me with such vivid clearness that it penetrated like a splint into my brain--69--accurately 69. I wouldn't forget it.I leant back in the vehicle, a prey to the wildest fancies; crouched under the hood so that no one could see me. I moved my lips and commenced to I talk idiotically to myself. Madness rages through my brain, and I let it rage. I am fully conscious that I am succumbing to influences over which I have no control. I begin to laugh, silently, passionately, without a trace of cause, still merry and intoxicated from the couple of glasses of ale I have drunk. Little by little my excitement abates, my calm returns more and more to me. I feel the cold in my sore finger, and I stick it down inside my collar to warm it a little. At length we reach Tomtegaden. The driver pulls up.I alight, without any haste, absently, listlessly, with my head heavy. I go through a gateway and come into a yard across which I pass. I come to a door which I open and pass through; I find myself in a lobby, a sort of anteroom, with two windows. There are two boxes in it, one on top of the other, in one corner, and against the wall an old, painted sofa-bed over which a rug is spread. To the right, in the next room, I hear voices and the cry of a child, and above me, on the second floor, the sound of an iron plate being hammered. All this I notice the moment as I enter.I step quietly across the room to the opposite door without any haste, without any thought of flight; open it, too, and come out in Vognmansgaden. I look up at the house through which I have passed. "Refreshment and lodgings for travellers."It is not my intention to escape, to steal away from the driver who is waiting for me. I go very coolly down Vognmansgaden, without fear of being conscious of doing any wrong. Kierulf, this dealer in wool, who has spooked in my brain so long--this creature in whose existence I believe, and whom it was of vital importance that I should meet--had vanished from my memory; was wiped out with many other mad whims which came and went in turns. I recalled him no longer, except as a reminiscence--a phantom."

    Paperback book

    Frank really needs some R & R. He’s just been fired—over a fatal screw up—from the covert operations “shop” he’s worked at for years. But Douglas Meachum—a hard-charging art dealer—needs to be made to feel something more than entitlement: nothing extreme, just a little wake-up call.Given Frank’s background and his expertise in good guy/bad guy tactics, it’s easy for him to set up a scam involving some embarrassing revelations about a faked Mayan sculpture that Meachum sells to one of his clients. But the client isn’t someone who takes kindly to mistakes. She’s a ruthless social-climbing psychopath who, with her surfer-dude husband (the Thomas Alva Edison of designer pharmaceuticals), runs a huge drug operation. And she’s got an invincible thug duo—Vlad and Arturo—to carry out her notions of payback, which make Frank’s wake-up scheme seem positively genteel. What started out as a good (if slightly underhanded) deed quickly veers out of control. How Frank handles the chaos—and what he himself hears in the wake-up call—is the fuel that drives this full-throttle, terrifically entertaining novel.

    The official companion to the major National Maritime Museum exhibition, running from 31 March to 5 September 2004.

    Sufficient information about General Phonetics has been included in the book, with a view to facilitating the reader's understanding of the Phonetics of English. Plenty of examples are given from English, Tamil, Hindi and Urdu/Arabic to illustrate the points made. There are a number of diagrams throughout the book,illustrating the articulation of the sounds of English. The book also includes some information about General Phonology and the Phonology of English. A few sentences, dialogues and a popular tale have been given at the end of the book, both in orthography and in simple phonemic transcription. The book covers the Phonetics/Phonology syllabus of most Indian universities and ELT institutes

    Her father, Jim, is tall and slender, and her mother, Christina, is a fine-boned, dark-haired beauty. Both are self-centered, outspoken, and disappointed by their daughter’s looks. When Victoria is six, she sees a photograph of Queen Victoria, and her father has always said she looks just like her. After the birth of Victoria’s perfect younger sister, Gracie, her father liked to refer to his firstborn as “our tester cake.” With Gracie, everyone agreed that Jim and Christina got it right.While her parents and sister can eat anything and not gain an ounce, Victoria must watch everything she eats, as well as endure her father’s belittling comments about her body and see her academic achievements go unacknowledged. Ice cream and oversized helpings of all the wrong foods give her comfort, but only briefly. The one thing she knows is that she has to get away from home, and after college in Chicago, she moves to New York City.Landing her dream job as a high school teacher, Victoria loves working with her students and wages war on her weight at the gym. Despite tension with her parents, Victoria remains close to her sister. And though they couldn’t be more different in looks, they love each other unconditionally. But regardless of her accomplishments, Victoria’s parents know just what to say to bring her down. She will always be her father’s “big girl,” and her mother’s constant disapproval is equally unkind.When Grace announces her engagement to a man who is an exact replica of their narcissistic father, Victoria worries about her sister’s future happiness, and with no man of her own, she feels like a failure once again. As the wedding draws near, a chance encounter, an act of stunning betrayal, and a family confrontation lead to a turning point.Behind Victoria is a lifetime of hurt and neglect she has tried to forget, and even ice cream can no longer dull the pain. Ahead is a challenge and a risk: to accept herself as she is, celebrate it, and claim the victories she has fought so hard for and deserves. Big girl or not, she is terrific and discovers that herself.

    I bought it from someone who got it from somebody. We never invented the stuff.’ – John Lennon Riding So High charts the Beatles’ extraordinary odyssey from teenage drinking and pill-popping, to cannabis, LSD, the psychedelic Summer of Love and the darkness beyond. Drugs were central to the Beatles’ story from the beginning. The acid, pills and powders helped form bonds, provided escape from the chaos of Beatlemania, and inspired colossal leaps in songwriting and recording. But they also led to break-ups, breakdowns, drug busts and prison. The only full-length study of the Beatles and drugs, Riding So High tells of getting stoned, kaleidoscope eyes, excess, loss and redemption, with a far-out cast including speeding Beatniks, a rogue dentist, a script-happy aristocratic doctor, corrupt police officers and Hollywood Vampires. ‘The deeper you go, the higher you fly…’ ‘An essential new work in Beatles historiography.’ – Erin Torkelson Weber, author of The Beatles and the Historians