Continue David and Katy's journey.Book 2 of a trilogy.*Beware of spoilers in the reviews below that are without spoiler alerts*

    FROM GRIT TO GREAT is a delightful treat for aspiring students, millenial workers, and budding entrepreneurs of all ages looking for inspiration and motivation on how to "make it big." It's the book where business meets wit. Join Jonathan as he discusses the following topics:FUEL YOUR SUCCESS FROM GRIT: What is Grit? How do you develop grit? Jonathan explains that you don't need to become Einstein, a Richie Rich, or a royalty to succeed in life--what you need is grit.BEHIND THE SCENES SPILLED: From bedroom to boardroom, Jonathan shares never-before-revealed thoughts and life lessons taken from Mr. Tony Fernandes and fellow candidates.HACK THE CORPORATE WORLD: From working hard to working smart, get practical tips on how to climb the corporate ladder faster!BE THE NEXT APPRENTICE: Aspiring to join The Apprentice Asia? Learn tips and tactics from the winner himself!

    These on-location workshops are usually reserved for a handful of photographers each year, but now you can learn the same techniques that Joe shares in his seminars and lectures in a book that brings Joe's sessions to life.What makes the book so unique is the "triangle of learning" where (1) Joe distills the concept down to one brief sentence. It usually starts with something like, "An editor at National Geographic once told me..." and then he shares one of those hard-earned tricks of the trade that you only get from spending a lifetime behind the lens. Then, (2) on the facing page is one of Joe's brilliant images that perfectly illustrates the technique (you'll recognize many of his photos from magazine covers). And (3) you get the inside story of how that shot was taken, including which equipment he used (lens, f/stop, lighting, accessories, etc.), along with the challenges that type of project brings, and how to set up a shot like that of your own.This book also gives you something more. It inspires. It challenges. It informs. But perhaps most importantly, it will help you understand photography and the art of making great photos at a level you never thought possible. This book is packed with those "Ah ha!" moments--those clever insights that make it all come together for you. It brings you that wonderful moment when it suddenly all makes sense--that "moment it clicks."

    Bruce Knecht, former reporter for The Wall Street Journal and author of The Proving Ground and Hooked, describes the creation of an outsized yacht in a sweeping narrative centered on the men and women who made it happen. DOUG VON ALLMEN, a self-made man who grew up in a landlocked state dreaming of the ocean, was poised to build a 187-foot yacht that would cost $40 million. Lady Linda would not be among the very largest of the burgeoning fleet of oceangoing palaces, but Von Allmen vowed that it would be the best one ever made in the United States. Nothing would be ordinary. The interior walls would be made from rare species of burl wood, the floors paved with onyx and exotic types of marble, the furniture custom made, and the art specially commissioned. But the 2008 economic crisis changed everything. Von Allmen’s lifestyle suddenly became unaffordable. Then it got worse: desperate to reverse his losses, he fell for an audacious Ponzi scheme. Would Von Allmen be able to complete Lady Linda? Would the shipyard and its one thousand employees survive the financial meltdown? The divide between the very rich and everyone else had never been greater, yet the livelihoods of the workers, some of them illegal immigrants, and the yacht owners were inextricably intertwined. In a sweeping, high-stakes narrative, the critically acclaimed author of The Proving Ground and Hooked weaves Von Allmen’s story together with those of the men and women who are building his yacht. As the pursuit of opulence collides with the reality of economic decline, everyone involved in the massive project is forced to rethink the meaning of the American Dream.

    From 1957 to 1972 the artistic and political movement known as the Situationist International (SI) worked aggressively to subvert the conservative ideology of the Western world. The movement's broadside attack on establishment institutions and values left its mark upon the libertarian left, the counterculture, the revolutionary events of 1968, and more recent phenomena from punk to postmodernism. But over time it tended to obscure Situationism's own founding principles. In this book, Simon Sadler investigates the artistic, architectural, and cultural theories that were once the foundations of Situationist thought, particularly as they applied to the form of the modern city.According to the Situationists, the benign professionalism of architecture and design had led to a sterilization of the world that threatened to wipe out any sense of spontaneity or playfulness. The Situationists hankered after the pioneer spirit of the modernist period, when new ideas, such as those of Marx, Freud, and Nietzsche, still felt fresh and vital.By the late fifties, movements such as British and American Pop Art and French Nouveau Ralisme had become intensely interested in everyday life, space, and mass culture. The SI aimed to convert this interest into a revolution--at the level of the city itself. Their principle for the reorganization of cities was simple and seductive: let the citizens themselves decide what spaces and architecture they want to live in and how they wish to live in them. This would instantly undermine the powers of state, bureaucracy, capital, and imperialism, thereby revolutionizing people's everyday lives.Simon Sadler searches for the Situationist City among the detritus of tracts, manifestos, and works of art that the SI left behind. The book is divided into three parts. The first, The Naked City, outlines the Situationist critique of the urban environment as it then existed. The second, Formulary for a New Urbanism, examines Situationist principles for the city and for city living. The third, A New Babylon, describes actual designs proposed for a Situationist City.

    It also contains one story from the Vampire's Prey series and one unique story called The Body Farm.Deadlocked : Broken Pieces Vol 1 contains the following short stories.Dial Tone: This story picks up from the beginning of the outbreak and tells Laura's story. In this short story, you'll learn about what she and the girls went through that forced them onto the roof of their house, waiting for David to come home.Just a Secretary: This story is about Gloria and Jerry from David's office building. They try to escape the building, but get caught by a character that plays a big part in Deadlocked 3.The Getaway: When David leapt from the billboard into the Everland River, he emerged only to be smacked on the head by a boat that was being chased by the police in the pontoon. This story explains who that was, and why he was running.Batting Average: William and his son, Billy, have been protecting their salvage yard ever since the outbreak of the zombie apocalypse. Moments before they discover David on their beach, William sits back and enjoys a soda with his son who he is afraid he'll lose soon.Love Letter: A note that Laura wrote to David after the events at the end of Deadlocked. This letter technically should be part of Deadlocked Broken Pieces Volume 2, but I thought it fit better here.Also included in Broken Pieces are a couple of short stories that are not from the Deadlocked Universe. The first, The Summoner and the Prey, is from the Vampire's Prey series and is a unique story to this book. Also in this volume is The Body Farm. This is a wholly original story about… well, you'll just have to wait and see! Let me just say that it has a couple of my own personal favorite horror scenes that I've ever written.

    city. Its buildings were monuments to its success and vitality in the first half of the twentieth century. At the start of the twenty-first century, those same monuments are now ruins: the United Artists Theater, the Whitney Building, the Farwell Building and the once ravishing Michigan Central Station (unused since 1988) today look as if a bomb had dropped on Motor City, leaving behind the ruins of a once great civilization. In a series of weekly photographic bulletins for Time magazine called "Detroit's Beautiful, Horrible Decline," photographers Yves Marchand and Romain Meffre have been revealing to an astonished America the scale of decay in Detroit. "The state of ruin is essentially a temporary situation that happens at some point, the volatile result of change of era and the fall of empires," write Marchand and Meffre. "Photography appeared to us as a modest way to keep a little bit of this ephemeral state." As Detroit's white middle class continues to abandon the city center for its dispersed suburbs, and its downtown high-rises empty out, these astounding images, which convey both the imperious grandeur of the city's architecture and its genuinely shocking decline, preserve a moment that warns us all of the transience of great epochs.

    The present volume is an unabridged English translation of the 13th French edition of that historic manifesto, in which Le Corbusier expounded his technical and aesthetic theories, views on industry, economics, relation of form to function, the "mass-production spirit," and much else. A principal prophet of the "modern" movement in architecture, and a near-legendary figure of the "International School," he designed some of the twentieth century's most memorable buildings: Chapel at Ronchamp; Swiss dormitory at the Cité Universitaire, Paris; Unité d'Habitation, Marseilles; and many more.Le Corbusier brought great passion and intelligence to these essays, which present his ideas in a concise, pithy style, studded with epigrammatic, often provocative, observations: "American engineers overwhelm with their calculations our expiring architecture." "Architecture is stifled by custom. It is the only profession in which progress is not considered necessary." "A cathedral is not very beautiful . . ." and "Rome is the damnation of the half-educated. To send architectural students to Rome is to cripple them for life."Profusely illustrated with over 200 line drawings and photographs of his own works and other structures he considered important, Towards a New Architecture is indispensable reading for architects, city planners, and cultural historians―but will intrigue anyone fascinated by the wide-ranging ideas, unvarnished opinions, and innovative theories of one of this century's master builders.

    Contributors examine the state's handling of internal threats, tensions between civilians and the military, strategies of political parties, police and law enforcement reform, trends in judicial activism, the rise of border conflicts, economic challenges, financial entanglements with foreign powers, and diplomatic relations with India, China, Iran, Saudi Arabia, Afghanistan, and the United States.In addition to ethnic strife in Baluchistan and Karachi, terrorist violence in Pakistan in response to the American-led military intervention in Afghanistan and in the Federally Administered Tribal Areas by means of drones, as well as to Pakistani army operations in the Pashtun area, has reached an unprecedented level. There is a growing consensus among state leaders that the nation's main security threats may come not from India but from its spiraling internal conflicts, though this realization may not sufficiently dissuade the Pakistani army from targeting the country's largest neighbor. This volume is therefore critical to grasping the sophisticated interplay of internal and external forces complicating the country's recent trajectory.

    Here the reform movement of the turn of the century is not only dealt with as an artistic event, but those economic and political interests which inspired, supported, and handicapped it are also taken into account. In the chapters "Movement," "Unrest", and "Equilibrium," the historical phenomenon as a whole is characterised and is also presented with its own distinct local features. The centres of Brussels, Nancy, Barcelona, Glasgow, Helsinki and Chicago are dealt with in subchapters as are Munich, Darmstadt and Weimar. Finally, Vienna, that city in which the synthesis achieved its culmination, is described separately. The outstanding artists are examined in detail in connection with the respective cities of their greatest activity. The result is a complex picture of the symbiosis of architecture, furniture design, and craftsmanship with their corresponding approaches to artistic revitalization.

    From decorative elements of buildings to calligraphy and the embellishment of everyday objects, ornamentation that is most characteristic of Islamic art form is displayed in all its richness.

    Full facsimile of the original edition, not reproduced with Optical Recognition Software. Camillo Sitte (1843-1903) was a noted Austrian architect, painter and theoretician who exercised great influence on the development of urban planning in Europe and the United States. The publication at Vienna in May 1889 of "Der Stadtebau nach seinen k�nstlerischen Grundsatzen" ("The Art of Building Cities") began a new era in Germanic city planning. Sitte strongly criticized the current emphasis on broad, straight boulevards, public squares arranged primarily for the convenience of traffic, and efforts to strip major public or religious landmarks of adjoining smaller structures regarded as encumbering such monuments of the past. Sitte proposed instead to follow what he believed to be the design objectives of those whose streets and buildings shaped medieval cities. He advocated curving or irregular street alignments to provide ever-changing vistas. He called for T-intersections to reduce the number of possible conflicts among streams of moving traffic. He pointed out the advantages of what came to be know as "turbine squares"--civic spaces served by streets entering in such a way as to resemble a pin-wheel in plan. His teachings became widely accepted in Austria, Germany, and Scandinavia, and in less than a decade his style of urban design came to be accepted as the norm in those countries.

    This book traces that history from prehistoric times to the present, focusing particularly on culture, society, politics, and personalities. Written in an engaging style, it introduces readers to the key themes that have shaped Spain's history and culture. These include its varied landscapes and climates; the impact of waves of diverse human migrations; the importance of its location as a bridge between the Atlantic and the Mediterranean and Europe and Africa; and religion, particularly militant Catholic Christianity and its centuries of conflict with Islam and Protestantism, as well as debates over the place of the Church in modern Spain. Illustrations, maps, and a guide to further reading, major cultural figures, and places to see, make the history of this fascinating country come alive.

    But can she salvage my heart? It’s funny how life can change in the blink of an eye. One moment I have gorgeous wife and a job that won me the nickname ‘King of Wall Street’, next I find myself raising my kid single-handedly on a remote ranch in Colorado. The only thing that keeps me going is my son, inside I’m frozen. Devastated by the loss of my wife. Incapable of loving again. Until I see her. Cuddled up under a tree, cold and wet, and on the brink of the death. And I know I’m not going to watch another woman die in my arms.

    This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)