This comprehensive boxed set assembles Books 1-4 of this classic method. The books feature colorful, amusing characters and illustrations, and the four accompanying CDs contain backing tracks to make learning and practicing even more fun. This unique package features a built-in storage carton!

    Filled with details on techniques to improve perspective, composition, and exposure, and illustrated with the author's lively and evocative images, as well as advice and photos from 11 contemporary masters of street-shooting style, New Street Photographer's Manifesto has its lens pointed squarely toward the future.

    The photo looks completely out of place on the FBI Ten Most Wanted Fugitives list where it’s been since December, 8, 2007. For eight of those years, Jason appeared directly beside Osama Bin Laden. Bin Laden is long gone, but Jason is still wanted for armed robbery and murder.For years, his sister, Jami D. Brown Martin has watched the true crime programs and read the amateur investigative blogs devoted to Jason, his crime, and the efforts to apprehend him knowing the story wasn’t as simple, nor was it just Jason’s. To be the sister, brother, or relative of one of the world’s most wanted men is to live every day with the horrible truth and many consequences of his brutal act.CENTER OF ATTENTION is the story of a former Mormon missionary turned murderer. It is also a riveting look behind the facade of the genetically blessed, seemingly prominent and pious Brown family of Laguna Beach, California. It is a tale of the family patriarch, John Brown, who disappeared without a trace ten years before his son. More important, it is the gripping and ultimately hopeful story of the sister of one of the world’s most wanted fugitives and her journey to accept that despite being a product of the same crazy environment as her brother, her life and path are her own.

    More than a simple anthology, this collection goes deeper, revealing the incendiary intersection of music and activism.

    This powerful empire, built by the Comanche Indians, eclipsed its various European rivals in military prowess, political prestige, economic power, commercial reach, and cultural influence. Yet, until now, the Comanche empire has gone unrecognized in American history.This compelling and original book uncovers the lost story of the Comanches. It is a story that challenges the idea of indigenous peoples as victims of European expansion and offers a new model for the history of colonial expansion, colonial frontiers, and Native-European relations in North America and elsewhere. Pekka Hämäläinen shows in vivid detail how the Comanches built their unique empire and resisted European colonization, and why they fell to defeat in 1875. With extensive knowledge and deep insight, the author brings into clear relief the Comanches’ remarkable impact on the trajectory of history.Published in Association with The William P. Clements Center for Southwest Studies, Southern Methodist University.

    The contributors—museum directors, curators, and scholars in art history, folklore, history, and anthropology—represent a variety of stances on the role of museums and their function as intermediaries between the makers of art or artifacts and the eventual viewers.

    Five decades ago, Native American leaders launched a crusade to force museums to return their sacred objects and allow them to rebury their kin. Today, hundreds of tribes use the Native American Graves Protection and Repatriation Act to help them recover their looted heritage from museums across the country. As senior curator of anthropology at the Denver Museum of Nature & Science, Chip Colwell has navigated firsthand the questions of how to weigh the religious freedom of Native Americans against the academic freedom of scientists and whether the emptying of museum shelves elevates human rights or destroys a common heritage. This book offers his personal account of the process of repatriation, following the trail of four objects as they were created, collected, and ultimately returned to their sources: a sculpture that is a living god, the scalp of a massacre victim, a ceremonial blanket, and a skeleton from a tribe considered by some to be extinct. These specific stories reveal a dramatic process that involves not merely obeying the law, but negotiating the blurry lines between identity and morality, spirituality and politics. Things, like people, have biographies. Repatriation, Colwell argues, is a difficult but vitally important way for museums and tribes to acknowledge that fact—and heal the wounds of the past while creating a respectful approach to caring for these rich artifacts of history.

    A full-blooded Sioux, he was many things in the white man's world -- rodeo clown, painter, prisioner. But, above all, he was a holy man of the Lakota tribe. Seeker of Vision The story he tells is one of harsh youth and reckless manhood, shotgun marriage and divorce, history and folklore as rich today as ever -- and of his fierce struggle to keep pride alive, though living as a stranger in his own ancestral land.

    Spectacular tomb discoveries at the city of Copan reveal some of the early artistic and architectural splendours at this major site. New finds here and elsewhere entail a complete reinterpretation of the relationship between the warrior-kings of the classic Maya lowlands and Teotihuacan, the greatest city of pre-Conquest America. Continuing epigraphic breakthroughs - decipherments of Maya inscriptions - demonstrate vividly the shifting power blocs among the competing Maya city-states.

    The result is a frame-by-frame examination of the inimitable style that infuses every Kubrick movie, from the pitch-perfect hilarity of Lolita to the icy supremacy of 2001: A Space Odyssey to the baroque horror of The Shining. The book's beautiful design and dynamic arrangement of photographic stills offer a frame-by-frame understanding of how Kubrick constructed a film. What emerges is a deeply human study of one remarkable artist's nature and obsessions, and how these changed and shifted in his four decades as a filmmaker.

    The Hopis have kept this view a secret for countless generations, and this book was made possible only as a result of their desire to record for future generations the principles of their "Road of Life." The breaking of the Hopi silence is significant and fascinating because for the first time anthropologists, ethnologists, and everyone interested in the field of Indian study have been given rich material showing the Hopi legends, the meaning of their religious rituals and ceremonies, and the beauty of a conception of life within the natural world that is completely untouched by materialistic worlds."Only a person as deeply steeped in Hopi mysticism as the Hopis themselves could have produced this volume. Mr. Waters and Mr. Fredericks have approached the task of combining Hopi art, history, tradition, myth, folklore, and ceremonialism with dignity and authority.... Deserves to be part of the library of any student of the American Southwest."—American Anthropologist

    But what if your source turns out to be unworthy of your silence? What if it's your source who betrays you?The Messenger tells the story of an unlikely friendship between two men looking to change the world - a repentant jihadist and an idealistic journalist. This troubling real-life thriller takes us from their first meeting in a spartan flat in the rough suburbs of Manchester, to a bombing in Pakistan, a dramatic arrest and Malik's reporting career on the brink of ruin.Ten years later, Malik returns to this extraordinary tale. He asks where we can place our trust - in reams of evidence, in a government we believe is on our side, in a terrorist who swears he's changed, in a friend who has no one else to turn to. Malik explores the uncomfortable questions about why he, as well as the wider media and the nation, surrendered to fear so easily. And he reveals how the age of terror laid the groundwork for an era of fake news and demagogues.This is investigative journalism and storytelling of the highest order.

    We currently see no evidence of any kind indicating that extraterrestrials exist outside of our solar system. But at this moment, millions of engineers, scientists, corporations, universities and entrepreneurs are racing to create the second intelligent species right here on planet earth. And we can see the second intelligent species coming from all directions in the form of self-driving cars, automated call centers, chess-playing and Jeopardy-playing computers that beat all human players, airport kiosks, restaurant tablet systems, etc. The frightening thing is that these robots will soon be eliminating human jobs in startling numbers. The first wave of unemployed workers is likely to be a million truck drivers who are replaced by self-driving trucks. Pilots will be eliminated soon as well. Then, as new computer vision systems come online, we will see tens of millions of workers in retail stores, fast food restaurants and construction sites replaced by robots. Unless we take steps now to change the economy, we will soon have tens of millions of workers who are unemployed and seeking welfare because they will have no other choice. Marshall Brain's new book "The Second Intelligent Species: How Humans Will Become as Irrelevant as Cockroaches" explores how the future will unfold as the second intelligent species emerges. The book answers questions like: - How will new computer vision systems affect the job market? - How many people will become unemployed by the second intelligent species? - What will happen to millions of newly unemployed workers? - How can modern society and modern economies cope with run-away unemployment caused by robots? - What will happen when the first sentient, conscious computer appears? - What moral and ethical principles will guide the second intelligent species? - Why do we see no extraterrestrials in our universe? "The Second Intelligent Species" offers a unique and fascinating look at the future of the human race, and the choices we will need to make to avoid massive unemployment and poverty worldwide as intelligent machines start eliminating millions of jobs.

    Afterward he lived in New York, the city of choice for political exiles, and eventually arrived in Washington, D.C., at the newly minted National Museum of the American Indian (“a bad idea whose time has come”) as a curator. In his journey from fighting activist to federal employee, Smith tells us he has discovered at least two things: there is no one true representation of the American Indian experience, and even the best of intentions sometimes ends in catastrophe. Everything You Know about Indians Is Wrong is a highly entertaining and, at times, searing critique of the deeply disputed role of American Indians in the United States. In “A Place Called Irony,” Smith whizzes through his early life, showing us the ironic pop culture signposts that marked this Native American’s coming of age in suburbia: “We would order Chinese food and slap a favorite video into the machine—the Grammy Awards or a Reagan press conference—and argue about Cyndi Lauper or who should coach the Knicks.” In “Lost in Translation,” Smith explores why American Indians are so often misunderstood and misrepresented in today’s media: “We’re lousy television.” In “Every Picture Tells a Story,” Smith remembers his Comanche grandfather as he muses on the images of American Indians as “a half-remembered presence, both comforting and dangerous, lurking just below the surface.” Smith walks this tightrope between comforting and dangerous, offering unrepentant skepticism and, ultimately, empathy. “This book is called Everything You Know about Indians Is Wrong, but it’s a book title, folks, not to be taken literally. Of course I don’t mean everything, just most things. And ‘you’ really means we, as in all of us.”

    1962) did not go to film school and hates being defined as an auteur. He prefers to see himself as a craftsman, dutifully going about the art and business of making film. Trouble is, it's hard to be self-effacing when you are the director responsible for Se7en, Fight Club, and The Social Network. Along with Quentin Tarantino, Fincher is the most accomplished of the Generation X filmmakers to emerge in the early 1990s.This collection of interviews highlights Fincher's unwavering commitment to his craft as he evolved from an entrepreneurial music video director (Fincher helped Madonna become the undisputed queen of MTV) into an enterprising feature filmmaker. Fincher landed his first Hollywood blockbuster at twenty-seven with Alien3, but that film, handicapped by cost overruns and corporate mismanagement, taught Fincher that he needed absolute control over his work. Once he had it, with Se7en, he achieved instant box-office success and critical acclaim, as well as a close partnership with Brad Pitt that led to the cult favorite Fight Club.Fincher became circumspect in the 2000s after Panic Room, shooting ads and biding his time until Zodiac, when he returned to his mantra that -entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay.- Zodiac reinvigorated Fincher, inspiring a string of films--The Curious Case of Benjamin Button, The Social Network, and The Girl with the Dragon Tattoo--that enthralled audiences and garnered his films dozens of Oscar nominations.