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.

    After enjoying initial success as a British blues band, Fleetwood Mac became wildly popular.

    [Swafford] manages to construct a full-bodied human being."--The New York Times Book Review

    A French-speaking kid from Canada, Lanois was driven by his innate curiosity and intense love of music to transcend his small-town origins and become one of the world’s most prolific and successful record producers, as well as a brilliant musician in his own right. Lanois takes us through his childhood, from being one of four kids raised by a single mother on a hairdresser’s salary, to his discovery by Brian Eno, to his work on albums such as U2’s The Joshua Tree, Bob Dylan’s Time Out of Mind, and Emmylou Harris’s Wrecking Ball. Revealing for the first time ever his unique recording secrets and innovations, Lanois delves into the ongoing evolution of technology, discussing his earliest sonic experiments with reel-to-reel decks, the birth of the microchip, the death of discrete circuitry, and the arrival of the download era. Part technological treatise, part philosophical manifesto on the nature of artistic excellence and the overwhelming need for music, Soul Mining brings the reader viscerally inside the recording studio, where the surrounding forces have always been just as important as the resulting albums. Beyond skill, beyond record budgets, beyond image and ego, Lanois’s work and music show the value of dedication and soul. His lifelong quest to find the perfect mixture of tradition and innovation is inimitable and unforgettable.

    Ground Zero and the surrounding areas were photographed countless thousands of times, yet no one really assessed all of the phenomena found in these photographs. What is presented in this book is not a theory and it is not speculation. It is evidence. It is the body of empirical evidence that must be explained in order to determine what happened at Ground Zero.Anyone declaring who did what or how they did it before they have determined what was done is merely promoting either speculation or propaganda. The popular chant, "9/11 was an inside job," is, scientifically speaking, no different from the chant that "19 bad guys with box cutters did it." Neither one is the result of a scientific investigation supported by evidence that would be admissible in court. Neither identifies what crime was committed or how it was committed.The order of crime solving is to determine1) WHAT happened, then2) HOW it happened (e.g., what weapon), then3) WHO did it. And only then can we address4) WHY they did it (i.e. motive).Let us remember what is required to (legally) convict someone of a crime. You cannot convict someone of a crime based on belief. You cannot convict someone of a crime if you don't even know what crime to charge them with. If you accuse someone of murder using a gun, you'd better be sure the body has a bullet hole in it. Yet, before noon on 9/11/01, we were told who did it, how they did it, and why they did it (they hate us for our freedoms); before any investigation had been conducted to determine what had even been done.Many people have speculated as to who committed the crimes of 9/11 and/or how they did so. But without addressing what happened, speculation of this kind is nothing more than conspiracy theory. My research is not speculation. It is a forensic investigation of what happened to the WTC complex on 9/11.

    It offers a unique and unprecedented look into the backgrounds of many former CIA, FBI, and Federal Narcotics Bureau officials—including several who actually oversaw the CIA’s mind-control programs from the 1950s to the 1970s. In retracing these programs, a frequently bizarre and always frightening world is introduced, colored and dominated by many factors—Cold War fears, the secret relationship between the nation’s drug enforcement agencies and the CIA, and the government’s close collaboration with the Mafia.

    

    "Anyone, whether knowledgeable or not, will profit by reading it..." - Opera Quarterly

    Nine short non-fiction pieces with a forward by Shumon Basar.

    Although he died nearly 200 years ago, something about his work continues to haunt the twenty-first century. What is it about Blake that has so endured? In this illuminating essay, John Higgs takes us on a whirlwind tour to prove that far from being the mere New Age counterculture figure that many assume him to be, Blake is now more relevant than ever.

    Drawn in a range of styles asimprovisational as Coltrane and Mingus — everything from loose lineworkto tight pen and ink to gestural pencils — Blutch captures the excitement oflive performance, the lovelorn, and the Great Jazz Detective, who is out butnot down.

    Soon Gen Xers will be the only cohort of Americans who remember life as it was lived before the arrival of the Internet. They are, as Hennessey dubs them, “the last adult generation,” the sole remaining link to a time when childhood was still a bit dangerous but produced adults who were naturally resilient. More than a decade into the social media revolution, the American public is waking up to the idea that the tech sector’s intentions might not be as pure as advertised. The mountains of money being made off our browsing habits and purchase histories are used to fund ever-more extravagant and utopian projects that, by their very natures, will corrode the foundations of free society, leaving us all helpless and digitally enslaved to an elite crew of ultra-sophisticated tech geniuses. But it’s not too late to turn the tide. There’s still time for Gen X to write its own future. A spirited defense of free speech, eye contact, and the virtues of patience, Zero Hour for Gen X is a cultural history of the last 35 years, an analysis of the current social and historical moment, and a generational call to arms.

    But this orphaned landscape proved fertile ground for a generation of musicians who, from the 1960s onwards, would develop the experimental and various sounds that became known as Krautrock.Eschewing the Anglo-American jazz/blues tradition, they took their inspiration from elsewhere: the mysticism of the East; the fractured classicism of Stockhausen; the pneumatic repetition of industry, and the dense forests of the Rhineland; the endless winding of Autobahns.Faust, Neu!, Cluster, Ash Ra Tempel, Amon Dl II, Can, Kraftwerk - the influence of these groups' ruminative, expansive compositions upon Western popular music is incalculable. They were key to the development of movements ranging from postpunk to electronica and ambient, and have directly inspired artists as diverse as David Bowie, Talking Heads and Primal Scream.Future Days is an in-depth study of this meditative, sometimes abstract, often very beautiful music and the groups that made it, throwing light too on the social and political context that informed them. It's an indispensable book for those wanting to understand how much of today's music came about, and to discover a wealth of highly influential and pioneering artists.

    Beatles.

    By the time Pat Postiglione arrived there in 1980, it was also the scene of an unsolved series of vicious sex slayings that served as a harbinger of worse to come. As Postiglione was promoted from street-beat Metro cop to detective sergeant heading Music City’s elite cold-case Murder Squad, some of America’s most bizarre, elusive, and savage serial killers were calling Nashville home. And during the next two decades, the body count climbed.From Vanderbilt University to dive bars and out-of-the-way motels, Postiglione followed the bloody tracks of these ever-escalating crimes—each enacted by a different psychopath with the same intent: to murder without motive or remorse. But of all the investigations, of all the monsters Postiglione chased, few were as chilling, or as game changing, as the Rest Stop Killer: a homicidal trucker who turned the interstates into his trolling ground. Next stop, Nashville. But Postiglione was waiting.