This Boston-based alternative pop/German-like cabaret duo hand-designed this book which includes art, photos, commentary and 11 songs from their 2004 release. Songs included are: Bad Habit * Coin Operated Boy * Girl Anachronism * Good Day * Gravity * Half Jack * The Jeep Song * Missed Me *Perfect Fit * Slide * Truce.

    A space vessel called Schrodinger's Box discovers the creature, brings it back to life, and analyzes its intellectual and physical capabilities. It's not long before the scientists realize the creature is able to manipulate the make-up of objects, including organic matter, at a molecular level. The eyes of the scientific world are on Schrodinger's Box, but not everyone is pleased with the discovery. A group of terrorists attempts to intercept the ship and destroy it.

    Take your playing to the stratosphere with the most advanced lead book by this proven heavy metal author. Speed Mechanics is the ultimate technique book for developing the kind of speed and precision in today's explosive playing styles. Learn the fastest ways to achieve speed and control, secrets to make your practice time really count, and how to open your ears and make your musical ideas more solid and tangible. Packed with over 200 vicious exercises including Troy's scorching version of "Flight of the Bumblebee." Music and examples demonstrated on CD. 89-minute audio.

    In a series of variations, Gass gives us a mosaic of a life—futile, comic, anarchic—arranged in an array of vocabularies, altered rhythms, forms and tones, and broken pieces with music as both theme and structure, set in the key of middle C.It begins in Graz, Austria, 1938. Joseph Skizzen's father, pretending to be Jewish, leaves his country for England with his wife and two children to avoid any connection with the Nazis, who he foresees will soon take over his homeland. In London with his family for the duration of the war, he disappears under mysterious circumstances. The family is relocated to a small town in Ohio, where Joseph Skizzen grows up, becomes a decent amateur piano player, in part to cope with the abandonment of his father, and creates as well a fantasy self—a professor with a fantasy goal: to establish the Inhumanity Museum . . . as Skizzen alternately feels wrongly accused (of what?) and is transported by his music. Skizzen is able to accept guilt for crimes against humanity and is protected by a secret self that remains sinless.Middle C tells the story of this journey, an investigation into the nature of human identity and the ways in which each of us is several selves, and whether any one self is more genuine than another.

    The word as talisman is another of her concerns, and finally, in the section that most typifies the lilt of grace notes, Dove considers the embellishments below the melody of daily life.

    It was an astonishing achievement for a British team led by Everest veteran Charles Evans. Drawing on interviews, diaries and unpublished accounts, Mick Conefrey begins his story in 1905 with the first, disastrous attempt on the mountain by a team led by Aleister Crowley, explores the three dramatic German expeditions of the the late 1920s and brings it all to a climax 50 years later with the first ascent by Joe Brown and George Band. The Last Great Mountain is the final instalment of Mick Conefrey's acclaimed high altitude trilogy.

    health care, patients and doctors are losing. Who Killed Health Care? shows how to win the war. One of the nation's most respected health care analysts, Regina Herzlinger exposes the motives and methods of those who have crippled America's health care system-figures in the insurance, hospital, employment, governmental, and academic sectors. She proves how our current system, which is organized around payers and providers rather than the needs of its users, is dangerously eroding patient welfare and is pushing costs out of the reach of millions.Who Killed Health Care? then outlines Herzlinger's bold new plan for a consumer-driven system that will deliver affordable, high-quality care to everyone. By putting insurance money in the hands of patients, removing the middleman in the doctor-patient relationship, and giving employers cost relief, consumers and physicians will be empowered to make the system work the way it should. Herzlinger describes in precise detail how her innovative program will provideSmaller, disease-focused medical facilities that provide complete care for patientsA national system of medical records that provides privacy with confidential access by approved practitionersMandatory performance evaluations of all hospitals and all other medical organizationsMandatory health insurance with subsidies for those who cannot afford itWho Killed Health Care? is a call to arms that must be answered; the welfare of every American hangs in the balance."A brilliant analysis... A must-read." - Bill George, Professor, Harvard Business School and Former CEO of Medtronic"As it becomes more and more obvious to everyone that our current health care system is unsustainable, this is the book that had to be written." - Daniel H. Johnson, Jr. MD, former president of the American Medical Association"Regina Herzlinger's ideas to tackle the crisis of the U.S. health care system are based on keen knowledge of the system's existing difficulties along with insights that introduce the reader to new streamlined choices that have the potential of getting both quantity and cost under control." - Joseph Kennedy, founder, chairman, and president, Citizens Energy Corporation, CEO, Citizens Health Care, former representative (D-Mass)"Regina Herzlinger... offers a vision of the way things can be, should be, and will be sooner or later. The only question is: how long do we have to wait?" - Greg Scandlen, founder, Consumers for Health Choices "Regi Herzlinger has brilliantly articulated a better way - embracing the principles of competition and innovation that cause every other sector of our economy to thrive. Discharging American health care from the ICU can only happen by putting individual Americans - not politicians and bureaucrats - back in charge of their health care decisioins." - U.S. Senator Tom Coburn (R-Okla), M.D. "Following on the heels of her landmark Market-Driven Health Care, Herzlinger lays it on the line with her expose of what many who work in the health care industry have felt in their gut. Now it is articulated in an entertaining and must-read portrayal, with you and me as the only way out." - Dennis White, executive vice president for strategic development, National Business Coalition on Health "A wonderful Orwellian romp through issues which carry a deadly irony. The killers of health care are, of course, the third parties, each of which has an itchy palm and a commitment to profit or power which exceeds the commitment to service, with each engaging the others within a politically shaped box. Rarely has the case for the public been made with so much force, foresight, and wit, and a better way forward shown so clearly." - James F. Fries, MD, Professor of Medicine, Stanford University School of Medicine "You can practically hear the war chants as Professor Herzlinger sets out her view of what's wrong with the health care system and how to fix it. You'd best read it so you can decide which side you will be on when the battle is joined." - Paul Levy, CEO, Beth Israel Hospital, Boston, MA "Regina Herzlinger, the nation's leading expert on consumer-driven health care, has given us a brilliant analysis of the flaws in our health care system and what it will take to get it back on track. Her latest book is a must-read." - Bill George, Professor of Management Practice, Harvard Business School, Former CEO, Medtronic, and author of Authentic Leadership "You don't have to agree with her diagnosis and prescription for the U.S. health care system, but you do have to read her book. Once again, Professor Herzlinger has put together a well researched, well written, and very provocative blueprint for the future of health care." Peter L. Slavin, MD, President, Massachusetts General Hospital

    They were run on the cheap and were once the very example of how not to manage a team. They hired inept coaches---one of whom (Clive Rush) was nearly electrocuted when he grabbed a microphone at his introductory press conference. In 1968 their scouting director, Ed McKeever, suggested they draft a wide receiver . . . before someone in the organization realized the player had been dead for six months. They plucked ex-players out of the stands minutes before kickoff---Bob Gladieux was enjoying a beer at the game when he heard his name called over the P.A. (The Patriots had cut a player earlier that morning and found themselves short. Gladieux, who would go on to spend four years in the league as a running back, made the tackle on the opening kickoff.) And they played in a run-down stadium that was one of the worst venues in professional sports. There were brief moments of success, but on each occasion, front-office infighting would invariably cause the franchise to slide back down to the basement again. But in the first four months of 2000, everything changed. The hiring of head coach Bill Belichick and Vice President of Player Personnel Scott Pioli and the drafting of quarterback Tom Brady turned the fortunes of the franchise around. And their nontraditional approach to acquiring personnel---remembering that it's not about collecting talent, it's about assembling a team---quickly led to three Super Bowl titles in four seasons. It's a feat that, in the salary cap era, with free agency, planned parity and balanced scheduling, is in many ways even more impressive than anything achieved by the past dynasties of Green Bay, Pittsburgh, Dallas, and San Francisco.Along the way, Christopher Price has had a front-row seat for football history, chronicling the rise to power of the NFL's unlikeliest superpower. Price takes the reader inside the franchise to give him a dynamic portrait of a mighty organization at the height of its power. Readers are immersed in the locker room during the strange and tumultuous days of 2001 and 2003, when major personnel moves involving a pair of the most popular players in franchise history---Drew Bledsoe and Lawyer Milloy---threatened to rock their championship foundation to the core. Readers get an up-close look at the team that dominated the league on the way to a record-setting winning streak in 2004. And Price analyzes what went wrong when they fell short in 2005 and 2006, and how they plan to return to Super Bowl form in 2007. The Blueprint  will explore how the Patriots went from the dregs to a dynasty, becoming the gold standard for professional sports franchises everywhere. It will prompt sports fans (and those who study organizations) to acknowledge what many football insiders have believed for a long time: when it comes to building a successful system, the Patriots have the Blueprint. Praise for Christopher Price's Baseball by the Beach: A History of America's National Pastime on Cape Cod "[Price] provides anecdotes bound to amuse some, astound others, and inform all."---Cape Cod Times "[Price] captures the true essence of the game and its people."---Front Row, New England Sports Network "An excellent job . . . a solid, definitive story of the Cape Cod Baseball League."---The Cape Codder

    In 1968, after years of playing dive bars and lesbian cabarets on the Greenwich Village scene, rubbing shoulders with the likes of Bob Dylan and Lenny Bruce, the forty-something falsetto-voiced, ukulele-playing Tiny Tim landed a recording contract with Sinatra's Reprise label and an appearance on NBC's Laugh-In. The resulting album, God Bless Tiny Tim, and its single, 'Tip-toe Thru' The Tulips With Me', catapulted him to the highest levels of fame. Soon, Tiny was playing to huge audiences in the USA and Europe, while his marriage to the seventeen-year-old 'Miss' Vicki was broadcast on The Tonight Show in front of an audience of fifty million. Before long, however, his star began to fade. Miss Vicki left him, his earnings evaporated, and the mainstream turned its back on him. He would spend the rest of his life trying to revive his career, with many of those attempts taking a turn toward the absurd. But while he is often characterized as an oddball curio, Tiny Tim was a master interpreter and student of early American popular song, and his story is one of Shakespearean tragedy framed around a bizarre yet loveable public persona. Here, drawing on dozens of new interviews, never-before-seen diaries, and years of original research, author Justin Martell brings that story to life with the first serious biography of one of the most fascinating yet misunderstood figures in popular music.

    Starting with the Midlands beat combo Finders Keepers in the 1960s, he formed acclaimed funk-rock band Trapeze in the early 70s before joining Deep Purple at their commercial peak. Flying the world in Starship 1, the band's own Boeing 720 jet, Hughes enthusiastically embraced the rock superstar's lifestyle while playing on three Purple albums, including the classic Burn. When the band split in 1976 Hughes embarked on a breakneck run of solo albums, collaborations and even a brief, chaotic spell fronting Black Sabbath. All of this was accompanied by cocaine psychosis, crack addiction and other excesses, before Hughes survived a clean-up-or-die crisis, and embarked on a reinvigorated solo career enriched by a survivor's wisdom. In his autobiography, Hughes talks us through this whirlwind of a life with unflinching honesty and good humour, taking us right up to date with his triumphant re-emergence in current supergroup Black Country Communion. "I had a constant fascination with the darkside. It is another world, bordering on insanity, and demonic possession, or what I thought was my own Soul Bending personal nirvana. Its good to be back in the middle of the boat, instead of hanging on for dear life in the last life boat." - Glenn Hughes, April 2011

    He is one of the symp-toms of our times—from the little man who shoves you out of the way on the street to the go-getter who shoves you out of a job in the office to the Fuehrer who shoves you out of the world. And all of us have stopped to wonder, at some time or another, what it is that makes these people tick. What makes them run?This is the question Schulberg has asked himself, and the answer is the first novel written with the indignation that only a young writer with talent and ideals could concentrate into a manuscript. It is the story of Sammy Glick, the man with a positive genius for being a heel, who runs through New York’s East Side, through newspaper ranks and finally through Hollywood, leaving in his wake the wrecked careers of his associates; for this is his tragedy and his chief characteristic—his congenital incapacity for friendship.An older and more experienced novelist might have tempered his story and, in so doing, destroyed one of its outstanding qualities. Compromise would mar the portrait of Sammy Glick. Schulberg has etched it in pure vitriol, and dissected his victim with a precision that is almost frightening.When a fragment of this book appeared as a short story in a national magazine, Schulberg was surprised at the number of letters he received from people convinced they knew Sammy Glick’s real name. But speculation as to his real identity would be utterly fruitless, for Sammy is a composite picture of a loud and spectacular minority bitterly resented by the many decent and sincere artists who are trying honestly to realize the measureless potentialities of motion pictures. To this group belongs Schulberg himself, who has not only worked as a screen writer since his graduation from Dartmouth College in 1936, but has spent his life, literally, in the heart of the motion-picture colony. In the course of finding out what makes Sammy run (an operation in which the reader is spared none of the grue-some details) Schulberg has poured out everything he has felt about that place. The result is a book which the publishers not only believe to be the most honest ever written about Hollywood, but a penetrating study of one kind of twentieth-century success that is peculiar to no single race of people or walk of life.

    In many ways, his rise, fall, and rise again is an iconic story: a young American politician of vaunting ambition, aiming for nothing less than the presidency. Building on his father's political success, a first run for governor in 2002 led to a stinging defeat, and a painful, public divorce from Kerry Kennedy, scion of another political dynasty, Cuomo had to come back from seeming political death and reinvent himself. He did so, brilliantly, by becoming New York's attorney general, and compiling a record that focused on public corruption. In winning the governorship in 2010, he promised to clean up America's most corrupt legislature. He is blunt and combative, the antithesis of the glad-handing, blow-dried senator or governor who tries to please one and all. He's also proven he can make his legislature work, alternately charming and arm-twisting his colleagues with a talent for political strategy reminiscent of President Lyndon Johnson. Political pundits tend to agree that for Cuomo, a run for the White House is not a question of whether, but when.

    Inspired by this gift, Thomas forms Coyote Springs, an all-Indian Catholic band who find themselves on a magical tour that leads from reservation bars to Seattle and New York--and deep within their own souls.

    A role model for generations of writers and performers, Doc was renowned for his mastery of virtually every popular style, from the gutbucket rhythm and blues of “Lonely Avenue” to the symphonic soul of “Save the Last Dance for Me” to the pure pop of “Viva Las Vegas.” His songs-“This Magic Moment,” “A Teenager in Love,” “Hushabye,” “Little Sister,” “Turn Me Loose,” and many others-have been recorded by everyone from Ray Charles, Elvis Presley, and B. B. King to Bob Dylan, Led Zeppelin, and Bruce Springsteen, with sales exceeding $100 million. Doc was ready-made for literature. His collaborator Mort Shuman once described him as an “entire rollicking soul neighborhood rolled into one man.” Garrulous, profane, hilarious, and Rabelaisian, Doc was never inhibited about offering his opinions and his friendship. His confidants, collaborators, and discoveries included Duke Ellington, John Lennon, Dr. John, Jimmy Scott, Bette Midler, and Lou Reed. In the words of renowned producer Jerry Wexler, “If the music industry had a heart, it would be Doc Pomus.” Despite, or more likely because of, his successes, few acquaintances knew that this writer of jukebox hits led one of the most dramatic and unlikely lives of his time. Spanning extravagant wealth and desperate poverty, suburban domesticity and the depths of New York’s underworld, worldwide fame and near-total obscurity, enduring love and persistent loneliness, Doc’s story remains one of the great untold American lives. Its chapters comprise a back-room history of rock ’n’ roll, touching on more than a half-century of American popular music-from the blues Doc performed with Lester Young to his collaborations with the luminaries of New York’s punk scene, shot through with vivid portraits of virtually every major player. Lonely Avenue is the first biography of this American original, so elegantly rendered that it reads like a novel, and fortified by full, exclusive access to Doc Pomus’s family, friends, voluminous journals, and archives.

    In this first-ever chronicling of that revolutionary tour from the inside, author Ivor Davis serves up the stories behind the stories as only an insider can.In the rowdy and riotous recollections of THE BEATLES AND ME ON TOUR, Ivor Davis, then a reporter for the London Daily Express, shares his unrestricted access to the Liverpool lads as a member of the Beatles entourage. From inside the band’s hotel suites to the concert arenas to the private jets, the madness and magic plays out through Davis’ personal accounts of hanging with the Beatles for thirty-four jam-packed days.Go behind the scenes for all-night Monopoly games with John Lennon, witness the Beatles’ legendary living-room jam with Elvis, and be there the night Bob Dylan introduces the band to pot. Roll up for this definitive account of the legendary band at a critical moment in the history of rock ’n’ roll.