(Book). Turn On Your Mind: Four Decades of Great Psychedelic Rock is a history and critical examination of rock's most inventive genre. Whether or not psychedelic drugs played a role (and as many musicians say they've used them as not), psychedelic rock has consistently charted brave new worlds that exist only in the space between the headphones. The history books tell us the music's high point was the Haight-Ashbury scene of 1967, but the genre didn't start in San Francisco, and its evolution didn't end with the Summer of Love. A line can be drawn from the hypnotic drones of the Velvet Underground to the disorienting swirl of My Bloody Valentine; from the artful experiments of the Beatles' Revolver to the flowing, otherworldly samples of rappers P.M. Dawn; from the dementia of the 13th Floor Elevators to the grungy lunacy of the Flaming Lips; and from the sounds and sights at Ken Kesey's '60s Acid Tests to those at present-day raves. Turn On Your Mind is an attempt to connect the dots from the very first groups who turned on, tuned in, and dropped out, to such new-millennial practitioners as Wilco, the Elephant 6 bands, Moby, the Super Furry Animals, and the so-called "stoner-rock" and "ork-pop" scenes.
Jim Dorion was recruited and trained to launder money for an International Trust Co. He was told that this money was investors’ money. He later found out that he was investing millions of dollars for an organized crime family as well as the Colombia Cocaine Cartel. With the IRS hot on Jims trail for laundering money, someone stole $500,000 of the Cartel’s money; and he was held responsible. Now, with $500,000 of the Cartel’s money missing, he became a hunted man with $100,000 reward on his head, dead or alive. Discarded by his mentor with nowhere to hide, he had to disappear. For six years he hid in seclusion on a remote Mesa in Utah, but the abduction and rescue of a woman forced him to come out of seclusion and face the world. The Cartel still wanted him dead and was looking for him all over the world. He finally decided that he was tired of running; he had nowhere to go and nothing left to lose. He decided if it’s war they wanted, it’s war he would give them. He would hit them where it really hurt, and they wouldn’t see it coming. Greed would be his weapon.
Foreword by Joe Satriani Guitar Player: The Inside Story of the First Two Decades of the Most Successful Guitar Magazine Ever is a reflection on Guitar Player's often pioneering early days, from its 1967 founding through its 1989 sale by founder Bud Eastman and editor/publisher Jim Crockett. This book looks at the magazines evolution from a 40-page semi-monthly to a monthly exceeding 200 pages, with a gross yearly income that grew from $40 000 to nearly $15 million. The story is told by many people important to Guitar Player's history, including Maxine Eastman, Bud Eastman's widow, and Crockett, who edited this book with his daughter Dara. Also here are recollections of key personnel, including Tom Wheeler, Jas Obrecht, Roger Siminoff, Mike Varney, Jon Sievert, George Gruhn, and Robb Lawrence; leading early advertisers, such as Martin, Randall, and Fender; and prominent guitar players featured in the magazine, including Joe Perry, George Benson, Pat Travers, Country Joe McDonald, Pat Metheny, Steve Howe, Lee Ritenour, Johnny Winter, Steve Morse, Larry Coryell, Michael Lorimer, John McLaughlin, Stanley Clarke, Liona Boyd, Steve Vai, and many others. Among the many illustrations are then-and-now shots of performers and staff, early ads, behind-the-scenes photos from company jam sessions (with such guests as B. B. King and Chick Corea), various fascinating events, and key issue covers. Rich in history and perspective, Guitar Player: The Inside Story of the First Two Decades of the Most Successful Guitar Magazine Ever is the definitive first-person chronicle of a music magazine's golden age.
The Stranglers have outlasted and outsold virtually every other band of their era, recording ten hit albums and releasing 21 Top 40 singles. Their list of hits, including Golden Brown, were written against a background of spectacular success, dismal failure, drug dependency, financial ruin, infighting and misfortune. As a response to David Buckley's one-sided biography of the band ("No Mercy" Hodder & Stoughton, 1997) and the band’s reticence to reveal the true meaning behind their songs, Hugh Cornwell, founding member and songwriter, sets the record straight, displaces the myths and for the first time explains the real stories behind The Stranglers, his departure and the origins of their songs.
Celebrate forty years of Garfield with this lavish, full-color collection featuring classic strips, guest cartoonists, fan art, and a foreword by lifelong Garfield lover Lin-Manuel Miranda, the Pulitzer Prize–winning creator of Hamilton. The big year is finally here! Garfield, the original party animal, is aging disgracefully and celebrating wildly! Hey, what do you expect from the mischievous fat cat who is so good at being bad? Join the party, as celebrity cartoonists and fans alike pay homage to the famous feline. Even Broadway legend Lin-Manuel Miranda gets into the act by composing the book’s foreword. This commemorative collection of birthday comic strips—plus a ton of other festive fun—is a gift for Garfield fans of all ages!
In England, adult education became widespread as industrialization fed the demand for popular democracy. A marked shift from practical to leisure-based adult education occurred after World War II. More recently, policymakers have acknowledged the broader aims of education, including social inclusion and creation of a learning society. More than 90% of adults in England consider learning very or fairly important. At any given time, one in seven adults are actively engaged in formal learning. The three main groups of obstacles deterring participation in adult learning are practical/material, structural, and attitudinal barriers. Recent skills audits in England highlight a deficit in basic and intermediate skills among adults. A range of measures to broaden the social profile of people participating in adult, further, and higher education have been introduced or proposed in recent years. The measures range from targeting certain groups to making fundamental changes in funding methods. Although the positive relationship between education level and financial rewards is clear at the individual level, the returns of education are more difficult to identify at the organizational level. (Eighteen tables/figures and a glossary are included. Contains a bibliography listing 147 references, a list of 24 useful Web sites, and an appendix containing additional data.) (MN)
Catalogue accompanying the exhibition JIM HODGES held at the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, June 21 - August 31, 2003; the Austin Museum of Art, February 21 - May 23, 2004; the Weatherspoon Art Museum, the University of North Carolina at Greensboro, August 8 - October 24, 2004; and the Museum of Contemporary Art, Cleveland, January 27 - May 1, 2005.Includes a dialogue with Jim Hodges conducted by Ian Berry and essays by Ron Platt and Allan Schwartzman.
Publishers Weekly called Jim Harrison "an untrammeled renegade genius," a poet who performed "absolutely brilliant and outrageous things with language.
Throughout the pages of Jim Harrison: Early Poems, a young, ambitious poet engaged with a wide range of subjects, styles and forms, sounding for voice and vision in lyrics, prose poems, long suites, and propulsive ghazals. Jim Harrison called poetry "the true bones of my life." Jim Harrison: Early Poems contains every poem that appeared in his first five books of poetry, all published before his breakthrough novella trilogy, Legends of the Fall. As Colum McCann writes in his generous introduction, "Jim Harrison: Early Poems showcases the poems of the early years. Harrison gets us--his readers--to have a hard look at ourselves primarily because he opens up his internal tuning fork to all sorts of sounds and ideas. There is enormous bravery here." Throughout these pages a young, ambitious poet engages with a wide range of subjects, styles and forms, sounding for his voice and vision in lyrics, prose poems, long suites, and propulsive ghazals. Regarding the poetry written during this period, Publishers Weekly called Harrison, "an untrammeled renegade genius," noting that he was "a poet talking to you instead of around himself, while doing absolutely brilliant and outrageous things with language.
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