Less gear. Less anxiety. Less stress. Less fear. A Lesser Photographer is the missing guide you've always wanted to the only gear that really matters: the gear between your ears. In under an hour, you’ll be able to identify the myths you’ve been taught about photography and embrace useful creative habits that will set you apart. Praise for previous editions: “For something beautiful and well-said, check out A Lesser Photographer.” — David duChemin “Amazing read…I really recommend everyone get a copy.” — Chris Marquardt “CJ Chilvers reevaluates what it means to be a photographer in this manifesto. Most of the points apply to virtually any creative endeavor or obsession. ‘The real show is outside the viewfinder.’” — Jim Coudal “I have to say, CJ has a great attitude. If you care at all about photography, he’s a must read.” — Patrick Rhone “Every photographer should follow CJ Chilvers.” — Eric Kim

    

    One of his best-loved and most famous plays, it exposes the lies plaguing the family of a wealthy Southern planter of humble origins.

    In this revamped version, as NDTV's transgressions have been ruled on in the courts, the reader gets a ringside view of what happens when Business colludes with Bureaucrats and Bent Politicians. How a corrupt cabal manages to keep delaying the inevitable by tying up the cases in courts. Fake narratives and honey traps to coerce and blackmail. NDTV and the owner (who is revealed in the book) have resorted to every means foul to deny the truth from coming out. A compelling read for everyone who wants to know how the system has been thoroughly corrupted and compromised in India.

    An entertaining, insightful history of the men who've held the office, from the division between Jefferson and Hamilton through Bill Clinton's campaign for national health care.

    As a child in the segregated Baltimore of the early 1960s, Smith absorbed the words of her parents, teachers, neighbors—even train conductors—and realized that there was something more being communicated than the actual words:The conductor's voice had a mild kind of grandeur that was a cousin to the vocal tones I had heard at funerals—"Ashes-to-ashes"—and at christenings and weddings. These are words that have been said many times, but the person who speaks them understands that each time it must be said as if it matters, because it does matter. We never know what lies ahead, and we never know what just happened, and all words must house respect of those two unknowns.In Talk to Me, Smith looks back at a singular career as a seeker and interpreter of language in America, revealing the methodology behind her extraordinary search for the truth and nuances of verbal communication. For thirty years, the defining thesis of Smith's work has been that how we speak is just as important in communicating truth and identity as what we say. Everything from individual vocal tone to grammar, Smith demonstrates, can be as identifiable and revealing as a fingerprint. Her journey has taken her from the rarefied bastions of academia to riot-torn streets; she has conducted hundreds of interviews with subjects ranging from women prisoners to presidents of the United States. In 1995, her ongoing investigation led her to Washington, D.C. After all, what better place to wage an inquiry into the power of language and the language of power than in the city where "message" is a manufactured product? What happens when we as citizens accept—which we seem to be doing more and more—our chosen leaders' failure to tell the truth? And how can we know that we are hearing what Washington really has to say when everything we receive is filtered through the media? Armed with a blazing intellect and a tape recorder, Smith tackled these questions head-on, conducting more than four hundred interviews with people both inside and outside the power structure of Washington. She recorded these sessions in her trademark verbatim transcripts, which include every tic and verbal utterance of her subjects. More than thirty of these remarkable documents appear in this book, including interviews with Bill Clinton, Anita Hill, Studs Terkel, George Bush, Mike McCurry, and Helen Thomas. After five years of searing investigation into the world of the politicians, spin doctors, and power brokers who are steering the course of our country from inside the beltway, Smith has come away with a revelatory assessment—by turns devastating and hopeful—of the lexicon of power and politics in America. Talk to Me is a landmark contribution from a woman whose pioneering insights into language speak volumes.

    “Nothing,” he says. I look him in the eye. Nothing? He nods. I ask him about his chronic skin infections, his diabetes. He tears up: “I eat hot chips and fried dim sims and drink three bottles of Coke every afternoon. The truth is I’m addicted to eating. I’m addicted.” He punches his thigh.In Fat City, Karen Hitchcock unpicks the idea of obesity as a disease. In a riveting blend of story and analysis, she explores chemistry, psychology and the impulse to excess to explain the West’s growing obesity epidemic.

    Tips on improvisational comedy.

    This book is a selection of the best columns written by him over the last eleven years.The columns range from the author's perceptive portraits of politicians and celebrities to his reflections on the state of the media and the peculiarities of the English language. He also turns the gaze on himself—sharing with us his eccentricities, his foibles and anecdotes about himself and his family, including his late wife Nisha. There are also pieces here about his Doon and Cambridge days and vignettes from his travels to cities near and far.

    If we really do get the government we deserve, On Mutiny might provoke a civilian rebellion.

    In this her latest collection of essays she explores the story-telling impulse, and asks how she, as a product of postmodernism, can reconnect to the primal act of making meaning and telling stories. She also asks how theatre practitioners can think of themselves not as stagers of plays but orchestrators of social interactions and participants in an on-going dialogue about the future.We dream. And then occasionally we attempt to share our dreams with others. In recounting our dreams we try to construct a narrative... We also make stories out of our daytime existence. The human brain is a narrative creating machine that takes whatever happens and imposes chronology, meaning, cause and effect... We choose. We can choose to relate to our circumstances with bitterness or with openness. The stories that we tell determine nothing less than personal destiny. (From the introduction)This compelling new book is characteristically made up of chapters with one-word titles: Spaciousness, Narrative, Heat, Limits, Error, Politics, Arrest, Empathy, Opposition, Collaboration and Sustenance. In addition to dipping into neuroscience, performance theory and sociology, Bogart also recounts vivid stories from her own life. But as neuroscience indicates, the event of remembering what happened is in fact the creation of something new."

    This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    A series of scenes that gradually tell the story of how the financial collapse affects a British couple and how fiscal worry, stress, and fear can strain mankind's greatest emotion.

    Sour Diesel. Wax, shatter, and vapes. Marijuana has come a long way since its seedy days in the back parking lots of our culture. So has Howard S. Becker, the eminent sociologist, jazz musician, expert on “deviant” culture, and founding NORML board member. When he published Becoming a Marihuana User more than sixty years ago, hardly anyone paid attention—because most people didn’t smoke pot. Decades of Cheech and Chong films, Grateful Dead shows, and Cannabis Cups later, and it’s clear—marijuana isn’t just an established commodity, it’s an entire culture. And that’s just the thing—Becker totally called it: pot has everything to do with culture. It’s not a blight on culture, but a culture itself—in fact, you’ll see in this book the first use of the term “users,” rather than “abusers” or “addicts.” Come along on this short little study—now a famous timestamp in weed studies—and you will be astonished at how relevant it is to us today.             Becker doesn’t judge, but neither does he holler for legalization, tell you how to grow it in a hollowed-out dresser, or anything else like that for which there are plenty of other books you can buy. Instead, he looks at marijuana with a clear sociological lens—as a substance that some people enjoy, and that some others have decided none of us should. From there he asks: so how do people decide to get high, and what kind of experience do they have as a result of being part of the marijuana world? What he discovers will bother some, especially those who proselytize the irrefutably stunning effects of the latest strain: chemistry isn’t everything—the important thing about pot is how we interact with it. We learn to be high. We learn to like it. And from there, we teach others, passing the pipe in a circle that begins to resemble a bona fide community, defined by shared norms, values, and definitions just like any other community.             All throughout this book, you’ll see the intimate moments when this transformation takes place. You’ll see people doing it for the first time and those with considerable experience. You’ll see the early signs of the truths that have come to define the marijuana experience: that you probably won’t get high at first, that you have to hold the hit in, and that there are other people here who are going to smoke that, too.