Montag, 31. August 2015

^ PDF Download The Guitar Collection -- Classic Rock: 43 Landmark Songs of the Rock Era (Guitar TAB)From Alfred Music

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The Guitar Collection -- Classic Rock: 43 Landmark Songs of the Rock Era (Guitar TAB)From Alfred Music

The Guitar Collection: Classic Rock contains 43 key songs from the dawn of album-rock radio from such legendary artists as The Rolling Stones, Led Zeppelin, Pink Floyd, The Who, Black Sabbath, Journey, Santana, and many more. Every book in The Guitar Collection series features guitar TAB transcriptions with complete lyrics, and the sheer variety and quality of the selections make them a no-brainer bargain for guitarists and musicians of all ages. Titles: 20th Century Boy (T. Rex) * 25 or 6 to 4 (Chicago) * All Along the Watchtower (The Jimi Hendrix Experience) * Baba O'Riley (The Who) * Badlands (Bruce Springsteen) * Behind Blue Eyes (The Who) * Black Dog (Led Zeppelin) * Black Magic Woman (Santana) * Blinded by the Light (Manfred Mann Earth Band) * Brown Sugar (The Rolling Stones) * Closer to the Heart (Rush) * Do You Feel Like We Do (Peter Frampton) * Don't Stop Believin' (Journey) * Europa (Earth's Cry Heaven's Smile) (Santana) * Gimme Shelter (The Rolling Stones) * Go Your Own Way (Fleetwood Mac) * Hold the Line (Toto) * Hold Your Head Up (Argent) * Honky Tonk Women (The Rolling Stones) * I Put a Spell on You (Creedence Clearwater Revival) * Immigrant Song (Led Zeppelin) * Jumpin' Jack Flash (The Rolling Stones) * Kashmir (Led Zeppelin) * The Letter (Joe Cocker) * Like a Rolling Stone (Bob Dylan) * Live and Let Die (Paul McCartney and Wings) * Lola (The Kinks) * Paint It, Black (The Rolling Stones) * Paranoid (Black Sabbath) * Pinball Wizard (Elton John) * Saturday in the Park (Chicago) * Separate Ways (Worlds Apart) (Journey) * Shapes of Things (The Yardbirds) * Stairway to Heaven (Led Zeppelin) * Sunny Afternoon (The Kinks) * Thunder Road (Bruce Springsteen) * Tom Sawyer (Rush) * Us and Them (Pink Floyd) * Waterloo Sunset (The Kinks) * The Weight (The Band) * What a Fool Believes (The Doobie Brothers) * Who Are You (The Who) * Woodstock (Crosby, Stills & Nash).

  • Sales Rank: #2687898 in Books
  • Brand: Alfred Music
  • Model: 00-44131
  • Published on: 2015-01-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.70" h x .70" w x 9.00" l, 1.80 pounds
  • Binding: Paperback
  • 256 pages

Most helpful customer reviews

2 of 2 people found the following review helpful.
Full guitar solos...
By b
Good amount of tabs in this book and also has Us & Them by Pink Floyd which is really fun to play! However, I bought this book expecting to have a full tab of the epic guitar solo from Blinded By The Light by Manfred Manns Earth Band, and was sadly disappointed. This book is very misleading as it promises guitar tabs for the songs but for some of them, very little is tabbed out. It does give you an idea of what key each instrument is playing in the song and chord progressions are highlighted but when you buy tabs for a song you should receive the whole song tabbed out completely. Not just bits and pieces.

See all 1 customer reviews...

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^ Fee Download The Silk Road: Then and Now, by Lynn Gilbert

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"The Silk Road: Then and Now," is a photographic exploration of the traditional homes of Turkey located along the ancient Silk Road linking Asia to the West. Gilbert's photographs are powerful, mysterious and elegant. They depict both humble and affluent homes, showing them exactly as they are: a mix of furniture, art, linens, household serving items and vibrantly colored, centuries-old handwoven rugs. The rich thread tying the images together into a fascinating whole are design, color, balance and light.

  • Sales Rank: #4496526 in Books
  • Published on: 2015
  • Binding: Paperback
  • 92 pages

Most helpful customer reviews

2 of 2 people found the following review helpful.
Beautiful Book of images of homes along The Silk Road
By Helen T. Glenn
Spending time with Lynn Gilbert's beautiful book of photographs of the interiors of family homes along The Silk Road, especially in Turkey, offered me a meditative journey through territory I could "unroll" before my eyes as I turned from one page to the next or could return to and suddenly see a detail which "spoke" to me. The book uses the Language of Images to communicate. Always, there is the Light coming into the family's home, sometimes coming to rest on items of abundant color or in others, revealing the clarity of tone-on-tone of dark woodwork. Lynn Gilbert's Preface and Artist's statement form "The Bookends" of the images and offers just the right amount of Text to expand the reader's understanding as well as offer a springboard to further contemplation.

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Sonntag, 30. August 2015

^ Download PDF How to Read Islamic Carpets (Metropolitan Museum of Art (Paperback)), by Walter Denny

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How to Read Islamic Carpets (Metropolitan Museum of Art (Paperback)), by Walter Denny

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How to Read Islamic Carpets (Metropolitan Museum of Art (Paperback)), by Walter Denny

Carpets made in the “Rug Belt”—an area that includes Morocco, North Africa, the Middle East, Central Asia, and northern India—have been a source of fascination and collecting since the 13th century. This engaging and accessible book explores the history, design techniques, materials, craftsmanship, and socioeconomic contexts of these works, promoting a better understanding and appreciation of these frequently misunderstood pieces. Fifty-five examples of Islamic carpets are illustrated with new photographs and revealing details. The lively texts guide readers, teaching them “how to read” clues present in the carpets. Walter B. Denny situates these carpets within the cultural and social realm of their production, be it a nomadic encampment, a rural village, or an urban workshop. This is an essential guide for students, collectors, and professionals who want to understand the art of the Islamic carpet. 

  • Sales Rank: #899190 in Books
  • Published on: 2015-01-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.75" h x 8.25" w x .75" l, .0 pounds
  • Binding: Paperback
  • 144 pages

About the Author
Walter B. Denny is professor of art history and adjunct professor of Middle Eastern studies, the University of Massachusetts, Amherst; the Charles Grant Ellis Research Associate for Oriental Carpets, The Textile Museum; and the Marshall and Marilyn Wolf Senior Consultant for Islamic Carpets and Textiles, Department of Islamic Art, The Metropolitan Museum of Art.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Beautiful photos
By Elizabeth H
This book has a beautiful collection of Carpets from all over the Islamic world. The photos are striking and it's a really great book.
I had to return the first book due to water damage, but received the second book within a week and the return was very easy.

1 of 1 people found the following review helpful.
Important purchase for those wishing to appreciate and understand Oriental rugs.
By Michael H. Kaplan
Very informative book on the Met's extensive collection of Oriental rugs with excellent descriptions of each carpet. More than a catalogue. The book is an educational tool designed to help you understand and appreciate Oriental rugs.

0 of 0 people found the following review helpful.
misleading on that front but a good book on the rug collection at the MET
By Amazon Customer
Handful of pages devoted to reading islamic rug patterns. So, misleading on that front but a good book on the rug collection at the MET.

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Samstag, 29. August 2015

# Ebook Free Theory and Harmony for Everyone, by L. Dean Bye

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A thorough, easily understood workbook of basic music fundamentals. Includes many examples and exercises, as well as an excellent section on harmony. Designed for individual group study. A good supplement to any basic method and a valuable text for any music student.

  • Sales Rank: #1485463 in Books
  • Brand: Brand: Mel Bay Pubns
  • Published on: 2015-01-22
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x .17" w x 8.50" l, .47 pounds
  • Binding: Paperback
  • 72 pages
Features
  • Used Book in Good Condition

About the Author
L. Dean Bye is a professional musican, teacher, composer, and clinician. He received his Bachelor's Degree from Anderson University in Indiana and his Master's Degree from Southern Illinois University.

Most helpful customer reviews

2 of 3 people found the following review helpful.
Very good.
By Kindle Customer
My brother who has a Bachelor's in music recommended this book for me and my homeschooled children. I found it very informative and complete in it's information.

I have one complaint: NO ANSWER KEY! There were a few times when I thought I understood what I was supposed to be doing but wasn't absolutly positive. With an answer key I could have checked it out amd made sure I really did understand it. My brother lives too far away to have helped me when I went through it, though he did make an answer key for me to use with my children at a much later date. This will greatly expediate my work when checking theirs, but it would have been nice to have it at the start.

0 of 0 people found the following review helpful.
It needs an answer key to help beginners like me understand whether or not I grasping/ understanding the ...
By Cynthia J. Grant
This book is clearly wrtten. It needs an answer key to help beginners like me understand whether or not I grasping/ understanding the information.

0 of 0 people found the following review helpful.
Five Stars
By Wilford Steel
Very easy understand. I use this book with my beginning violin students. Thanks for the quick shipping.

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Mittwoch, 26. August 2015

!! Download Shakespeare's Authentic Performance Texts: The Case for Staging from the First Folio, by Graham Watts

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Shakespeare's Authentic Performance Texts: The Case for Staging from the First Folio, by Graham Watts

When we pick up a copy of a Shakespeare play, we assume that we hold in our hands an original record of his writing. We don't. Present-day printings are an editor's often subjective version of the script. Around 25 percent of any Shakespeare play will have been altered, and this creates an enormous amount of confusion. The only authentic edition of Shakespeare's works is the First Folio, published by his friends and colleagues in 1623. This volume makes the case for printing and staging the plays as set in the First Folio, which preserved actor cues that helped players understand and perform their roles. The practices of modern editors are critiqued. Also included are sections on analyzing and acting the text, how a complex character can be created using the First Folio, and a director's approach to rehearsing Shakespeare with various exercises for both professional and student actors. In conclusion, all of the findings are applied to Measure for Measure.

  • Sales Rank: #2673790 in Books
  • Published on: 2015-01-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.90" h x .70" w x 6.90" l, .0 pounds
  • Binding: Paperback
  • 260 pages

About the Author
London based Graham Watts has directed 28 professional Shakespeare productions in the United States, the UK, and Europe.

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1 of 1 people found the following review helpful.
"Now, Sir, What Is Your Text?"
By Lars Kaaber
Graham Watts’ case for staging Shakespeare’s plays directly from the First Folio is a ground-breaking, brilliant book and an absolute must for any Shakespeare student. Watts presents the case as follows: centuries of Shakespeare scholars have sought to help the Bard by amending various ‘errors’ in our only primary source of the plays, the Folio, and have done so from the best of intentions and on the assumption that the Folio was compiled in haste by Shakespeare’s friends and colleagues Heminges and Condell in 1623, then thrown into further confusion by the messy compositors at Jaggard’s printing house. Since then, editors all the way from the early endeavours of Rowe, Pope, and Theobald in the 18th century have altered the original text as it reached us, and later editors have proceeded to edit the editions of their predecessors and strayed still further away. The original Folio is never presented on the stage. In other words: what we perform today is the work, not of Shakespeare, but of Rowe & Co.

Based on thorough studies, Watts’ suggestion is that we simply trust The Folio. Ad fontes. We might have thought of that 300 years ago, for Watts’ suggestions are all sound and leave performers with a multitude of acting cues that vary decidedly from what is by now received tradition.

One may ask why such a book comes as late as it does, since we have always had the true Folio before us. The answer is surprisingly straightforward: Watts is a theatre director, a man who has tackled the task of actually producing Shakespeare on the stage, and such are rarely found in the ranks and files of Shakespeare research – very rarely in fact. Most scholars treat the text (and Watts is likely to be right: the garbled text!) as literature and tend to view stage presentations as the discount version of the real deal – or they conclude, with the proverbial response to a film version of a novel: ‘I prefer the book.’ In the battle between Shakespeare on the stage and Shakespeare on the page, the latter category almost always runs off with the academic laurels.

This is what Watts convincingly opposes. He points out that the original Folio text of the plays quite often takes on an entirely different meaning and inspires an altogether different performance than in the ‘amended’ editions we have taken for true gold. “Shakespeare’s Authentic Performance Texts” is full of revelations and is, moreover, written with humour and in a language aimed at explaining matters rather than impressing scholars. This makes it suited for a wide range of readers.

No praise can be exaggerated for such a publication.

1 of 1 people found the following review helpful.
Compelling Case for the First Folio
By J. E. Ryan
In Shakespeare’s Authentic Performance Texts: The Case for Staging from the First Folio, Graham Watts turns an experienced director’s eye on Shakespeare texts, particularly the First Folio, and on Shakespeare performance. Watts is extremely knowledgeable not only about the many texts, ranging from the earliest quartos through the various folios on up to modern editions, but also about the historical context and conditions of the early printings. (One of the pleasures of reading the book is coming across interesting nuggets about, say, the printer William Jaggard continuing to proofread while sickened with syphilis.) Emphasizing that Shakespeare was an actor, Watts tests editorial changes to the First Folio by one overriding measure: Is it playable? Does it enrich rather than constrict the actor’s options? He makes a compelling case for a closer adherence to the Folio, (which was, after all, ushered into print by Shakespeare’s colleagues of twenty years), and demonstrates that the folio is both an aid to the actor and an amplification of interpretive possibilities.
The book’s first four revelatory chapters are devoted to a detailed examination of modern editions as they depart from the First Folio. Throughout, Watts refers to modern editors as “editors/adaptors” because the changes they make to the folio are so extensive. In the most interesting chapter Watts demonstrates how useful the features usually smoothed out of the Folio text can be to actors and directors. Apparently unimportant details of italic type, capitalization, “mislineation,” and spelling are all shown to be valuable clues to an enriched performance.
Once Watts has established the value of the folio, he turns to performance issues. After considering briefly some fundamentals of acting, Watts demonstrates by means of Iago the creation of character as a succession of roles, emphasizing the immediacy of the actor’s task, that it is “in the moment” that character is realized. He then addresses in “Ambiguity” the wide range of choices moment to moment that the folio text offers an actor; he examines in great detail an episode between Gower and Fluellen in Henry V in which each few lines of text has up to four pages of commentary. In the penultimate chapter Watts provides some exercises he uses as a director and finally caps the book with an analysis of the actor’s many choices in playing the main characters in Measure for Measure.
This is emphatically a director’s take on Shakespeare. Its aim is not a rigorous academic analysis. In fact, Watts often chides academics, saying, for example, that they use the word “problem” of Measure for Measure “because the text causes them problems when trying to locate a central ‘meaning’—a pretty fruitless task in such a ….deliberately ambiguous play.” “Faculty thinking,” as Watts calls it, takes actors out of their bodies, where they should be, and into their heads. Instead Watts wants to “free actors from the yoke of Shakespeare’s editors and encourage them to make their own selections based on the folio,” and he devotes most of his interest to the creation of character on stage, in each case floating speculative back stories, imagining post-play narratives and in general playing with the play, without attempting to find or fix a “central meaning.” In large and small matters, Watts chooses the option that in his estimation plays better, that allows the actor a greater range of possibilities. For example, he prefers the Folio’s “crying” over the Quarto’s “coining,”—that is, counterfeiting coins stamped with the King’s image, which is the more usual editorial choice—in the following quote of Lear’s: “No, they cannot touch me for crying/coining. I am the King himself.” “’Crying,’” Watts comments, “gives the actor… an action whereas ‘coining’ relies on the audience having an in-depth knowledge of Jacobean history.” While there may be disagreement about some of Watts’s readings, overall he provides an exacting and revealing look at the folio and a fascinating range of acting and staging possibilities.

1 of 1 people found the following review helpful.
how printed Shakespeare texts have changed
By willis fireball
A great survey of how printed Shakespeare texts have changed in the last 400 years, this book presents the case for using (or at least consulting) the original plays as printed in the 1623 First Folio. This is especially meant for directors and actors who need to bring the characters to life, but any reasonably hardcore Shakespeare fan will find plenty in these new pages. There have been such extensive changes to the texts through the centuries that things have inevitably been lost. Mr. Watts presents the extensive downside of this situation. From his vast experience directing Shakespeare in a variety of places, and from his familiarity with the texts of the plays (quartos and folios to modern editions), he discusses the significance of the original word choice, spelling, capitalization, punctuation, prose/poetry, meter, characters, and context. Hundreds of text examples from the entire canon (and even the non-Folio poems) demonstrate changes from the First Folio. It's a lot to digest, and of course it's not the easiest language, but Mr. Watts is very readable, at times even pleasantly cheeky.

Mr. Watts doesn't delve into questions of authorship of the plays or authenticity of the folio texts; he merely argues that the First Folio, prepared by the actors Heminge and Condell who acted the plays, is an invaluable resource for producing the plays as they were originally performed.

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  • Sales Rank: #2043002 in Books
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  • 72 pages

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Smithsonian Stories: Chronicle of a Golden Age, 1964-1984, by Wilton S. Dillon

Why is the Smithsonian more than the “Nation’s Attic?” Or more than a museum complex? As Wilton S. Dillon shows, the Smithsonian came to be the institution we know today under the twenty-year leadership of “Sun King” S. Dillon Ripley.

Ripley aspired to reinvent the Smithsonian as a great university—with museums. Although little understood by the public at large, it began as a basic research center. The Smithsonian remains a key contributor to the world of higher learning and functions diplomatically as the ministry of culture for the United States. Dillon provides backstage insights into Ripley’s quest for the wholeness of knowledge. He describes how he inspired its role as a “theater of ideas as well as artifacts.” Under his tutelage, the National Mall became a playground for world intelligentsia, an “intellectual free trade zone” in the shadow of the nation’s political capital.

Dillon reminds us that interdisciplinary, international Smithsonian symposia foreshadowed twenty-first-century issues and trends. His descriptions of the educational rewards of balancing tradition with the avant-garde are inspiring. As Dillon reminds us, Ripley’s twenty-year reign may well have helped spark the waning embers of the Enlightenment.

  • Sales Rank: #1845955 in Books
  • Published on: 2015-01-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.80" h x 1.00" w x 5.90" l, .0 pounds
  • Binding: Hardcover
  • 408 pages

Review

“Who would have thought that the British scientist James Smithson's odd bequest would blossom into one of our Republic's greatest treasures, the nation's attic, the Smithsonian Institution?  It has fallen to Wilton Dillon to chronicle its golden age from 1964 to 1984—and he does it magnificently.  A wonderful story plucked from that invaluable attic.”

—Ken Burns, filmmaker

“Smithsonian Stories is a riveting story that throws a spotlight on a little noticed key part of American cultural history.”

—Edward O. Wilson, Harvard University

“Wilton Dillon provides this much-needed, erudite, and enjoyable backstage account of the legendary Dillon Ripley’s exciting ‘golden age’ at the Smithsonian. These stories illustrate Ripley’s quest: rediscovery of the wholeness of knowledge. He shared that quest with my husband, Arthur, to which end they both urged partnerships of scientists, artists, and humanists. The founding of the Arthur M. Sackler Gallery (the National Museum of Asian Art) brought a vital new extension of the Smithsonian’s coverage of global cultures, one of many far-sighted initiatives of the Ripley era.”

—Dame Jillian Sackler, philanthropist

“Wilton Dillon has starred discreetly in an extraordinarily long extraordinary career at the very center of American intellectual public life. He tells the story in a memoir of Mozartean elegance of phrase and captivatingly warm wryness.  A joy to read, it even generated genuine tense excitement about planning international symposia at the Smithsonian.  Oh, and always use loose tea when entertaining foreign visitors at 4 o’clock.”

—Lionel Tiger, Rutgers University

“What can one say of such a glittering scope of accomplishments, breadth of fields, sensitivity to the institution’s mission, insights to such a variety of disciplines, the collecting of so large a number of thinkers who defined the 20th century and provided to them a forum for their vision?  An awesome panorama that epitomizes the profound meaning of ‘increase and diffusion of knowledge.’”

—Paul Perrot, Smithsonian; Virginia Museum of Fine Arts

"Wilton Dillon's memoir of his activities and exploits at the Smithsonian give a unique and absorbing insight into this landmark institution. By sheer force of his generous personality and his professional curiosity,Wilton was able to attract an extraordinary array of intellectuals from all over the world  to participate in the symposia and conferences that he organised at the Smithsonian. These meetings, tackling a variety of subjects and issues, have become part of contemporary history.  With his remarkable memory, Wilton has been able to recreate the exciting debates that took place at the Smithsonian under his aegis. The Smithsonian memoirs deserve to be read by anyone who is interested in gaining a greater understanding of the issues that swirled around the second half of the 20th century. The Smithsonian should be proud that one of its stalwarts has provided this challenging feast."

—Hella Pick, former Diplomatic Editor and Washington Bureau Chief of the Guardian (newspaper)

"This is a moving, at times inspiring story of a young American Werther, provincial by birth but metropolitan by aspiration, propelled by chance into the center of American cultural and intellectual life, who rose to become one of Washington’s most accomplished impresarios of ideas. The book is a paean to the power of words, to the joys of discovery, and to the life of the mind. It is also largely a tribute to the values of education, hard work, and respect for knowledge that Americans have treasured, and—thanks to the Smithsonian bequest—need never forget. Above all, Wilton Dillon’s prose is a play on the importance of play, even amidst the intensity of introspection. His life story is one of which Goethe himself might have been proud.”

—Roy MacLeod, University of Sydney

“Wilton Dillon’s Smithsonian Stories scores on several fronts. The book covers the history of our national museum complex during a great era. It contains a wonderful series of vignettes connecting things and exhibitions to the issues of our day, and the cultures of past and present. It shows why many of us love museums, and why that love is germane to integrating the arts, sciences, humanities, and technology. The stories are also fun.”

—John R. Rowe, Exelon Corporation; The Field Museum

“Anthropologist, chronicler, and raconteur extraordinaire, Wilton Dillon paints a lively portrait of life in the Tower during two decades of unprecedented expansion. The list of scholars, artists, and statesmen whom the Smithsonian engaged in its activities—as an unparalleled center for research and guardian of our nation’s cultural heritage—is an impressive one. In this charming and exceptionally detailed account, Dillon tells us something about them all.”

—Pauline Yu, American Council of Learned Societies

“I am very glad that these stories are out, for the record, because they reflect an insider's view of a time at the Smithsonian that sparkled with creativity and mischief of the good sort. Dillon Ripley (like Wilton) was restive under authority, the antithesis of "the man in the grey flannel suit." He used his tenure as Secretary of the Smithsonian to be outrageously unpredictable and inventive. He was a perfect match for the spirit of eccentric British nobleman, James Smithson, who willed his fortune to the newly independent United States for the establishment of an institution devoted to "the increase and diffusion of knowledge among men." Ripley worked against the grain of political and business conventions to carve out a campus of cosmopolitan culture, play and experimentation at the heart of Washington, DC. As a theater aficionado he knew the importance of a stage presence and of ritual, and went all out in that direction. With glee. I particularly like his idea that the nation's capital needed (needs) a Museum of Man -- an ethnographic museum-- operating from its own building, not as part of the museum of Natural History, and wanted Wilton to be in charge of the project. The Italian architect Pier Luigi Nervi's design for a new Pitt-Rivers Museum in Oxford (1960's, never executed) was the model. Alas, that was one battle Ripley did not win. I hope Wilton's book rekindles interest in the Ripley years, a Camelot period in American culture and museum history.”

—Edgardo C. Krebs, Research Associate, Department of Anthropology, Smithsonian Institution

About the Author

Wilton S. Dillon is former president of the Institute for Intercultural Studies (founded by Margaret Mead) at the American Museum of Natural History in New York and senior scholar emeritus at the Smithsonian Institution. His four Smithsonian decades drew upon earlier experience as a soldier, journalist, college teacher, foundation executive, and science diplomat. He is a graduate of University of California, Berkeley, and holds a Ph.D. in Anthropology from Columbia University. Additionally, he was honored by the French government with the Chevalier des arts et des lettres, in part, for his book Gifts and Nations. 



Robert D. Sullivan has over forty years of museum experience. From 1990–2006, he served as the associate director for the Smithsonian’s National Museum of Natural History.

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2 of 2 people found the following review helpful.
Five Stars
By Bob Vail
Great read. Very interesting.

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  • Sales Rank: #2820429 in Books
  • Published on: 2015-01-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .12" w x 5.25" l, .14 pounds
  • Binding: Paperback
  • 50 pages

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Sonntag, 23. August 2015

# Ebook Free Journeys To Abstraction 2: 100 More Contemporary Paintings And Their Secrets Revealed (Volume 2), by Sue St.John

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Journeys To Abstraction 2: 100 More Contemporary Paintings And Their Secrets Revealed (Volume 2), by Sue St.John



Journeys To Abstraction 2: 100 More Contemporary Paintings And Their Secrets Revealed (Volume 2), by Sue St.John

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Journeys To Abstraction 2: 100 More Contemporary Paintings And Their Secrets Revealed (Volume 2), by Sue St.John

Discover how artists paint, pour, scrape, spray, carve, stamp, collage and otherwise build complex layers of texture and meaning. Painting with egg cartons, turning acrylic paints into shards of "stained glass," incorporating old "failed paintings into fresh finished pieces... anything goes in abstract art! Marked by an inspiring freedom of form and content, this is a liberating book for any artist in search of new, dynamic forms of self-expression.

  • Sales Rank: #623863 in Books
  • Published on: 2015-01-13
  • Original language: English
  • Dimensions: 11.00" h x .44" w x 8.50" l,
  • Binding: Paperback
  • 184 pages

About the Author
Sue St.John has been painting for more than forty years. Like many Midwest artists, she began with painting rural landscapes, barns and flowers in oil. Having lived for several years in the beautiful hills of Brown County Indiana, this was natural. Over the years Sue began working more in watercolors and moving toward more abstract paintings. She found the challenge of watercolors and abstracts to be a wonderful outlet for her creative talents. She loves abstract art where color flows freely giving the effect of stained-glass colors. “We who create are very blessed to put something into this world that is totally and uniquely us,” she says. “It completes the circle to be able to share it.” Sue is a Signature Artist Member of the American Watercolor Society and the Kentucky Watercolor Society.

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9 of 10 people found the following review helpful.
Great Resource!
By Rose Mccay
Sue has done it again! She has given artists, teachers, and students an almost endless gathering of thoughts, ideas and painting processes. The paintings featured are colorful and exciting and motivational. Each artist describes something either about their thought process, gathering of ideas, methods or steps they have followed to produce their painting. Journeys to Abstraction 2 is a great resource for your studio, home or school library. Contact information is also available for each artist should you have a question or want to discuss their process with them. All this is available to you in the book for study and contemplation in preparation for the beginning of your own artistic adventure.

6 of 8 people found the following review helpful.
Packed full of very useful and inspiring information!
By Georgia Mason
This art publication is not just a picture book of abstract and creative paintings. It is filled with terrific artwork created by prominent and successful artists. Each page will amaze and inform you regarding the thinking and working processes shared by all of the artists who are featured within the pages. It is packed full of very useful and inspiring information. This book is a welcome companion to Journeys to Abstraction, the first in the series by Sue St. John.

1 of 1 people found the following review helpful.
the first book had a better selection, and better
By Sic
Nah, the first book had a better selection, and better design

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Freitag, 21. August 2015

# PDF Download Son of a Beach Boy, by Scott Wilson

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Son of a Beach Boy, by Scott Wilson

REVISED EDITION It never occurred to me that my life growing up with my dad, Dennis Wilson of The Beach Boys, would be of any interest to anyone. That is until I built The Beach Boys Historical Landmark on the site where my dad, his brothers Brian and Carl Wilson and the other founding members of The Beach Boys grew up in Hawthorne, California, the site where The Beach Boys phenomenon was born. A great deal of my dad’s life was undeniably self- destructive. I will not sugar coat the facts but at the same time, I want to let every-one know what a great person he was. He had the kindest and most sincere heart I have ever known. Despite his well-publicized addictions, I hope this book helps Dad's fans understand why his life was so messed up. I have tried so hard to get over his death but I doubt I ever will. I know I am a good person but like my dad, I have made some terrible mistakes. I have done bad things, been addicted to drugs and much more. But even though I had a privileged childhood, I am aware, that I've embodied many of Dad's demons right through to my adulthood. I know now that having such a lack of self-worth, I became responsible for my own self- destructive nature. Could this have been the same for him? Dad, I loved you with all my heart and I miss you every single day and I hope this book sheds light on the two of us and that whatever needs to be forgiven, will be.

  • Sales Rank: #895952 in Books
  • Published on: 2015-01-22
  • Format: Large Print
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .53" w x 6.00" l, .64 pounds
  • Binding: Paperback
  • 234 pages

About the Author
Karen Lesley Powell was born on 27th January 1970 in West Yorkshire and has lived in Mirfield most of her life. She worked as head of admin before becoming a full time Mom in 2002. In the late 1980's, she used to write a quarterly fanzine on the British pop duo The Pet Shop Boys that sold worldwide. She has also built and managed various websites and forums, as well as being an avid photographer. But this is her first book.

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18 of 19 people found the following review helpful.
I really enjoyed this take on Dennis Wilson
By Rick D. Evans
I really enjoyed this take on Dennis Wilson. In part, because there’s so little to read on this iconic Rocker from days gone by. I’m a huge Beach Boys fan, and also a fan of Dennis’ work with the Beach Boys and his solo work. That this was written by his adopted son, gives us an inside look that rounds out Dennis as more than just a tragic addict, but a talented, fun loving, artist, but with inner demons. Unfortunately there’s some very amateurish writing; often reading like a child’s narration. I realize Scott is trying to drive home that this was his Dad and his uncles, but I don’t think he need to invoke such a childish voice through the book. Also, Scott makes some historical errors that will grate like finger nails to a serious Beach Boys fan. Things he easily could have confirmed and corrected on the internet. For example, the first Beach Boys album Brian made after he stopped touring was not 1963’s Surfer Girl but 1965’s Today! The striped surf board did not appear on just one of their “early albums” but on two easily named albums; Surfin’ Safari and Surfer Girl. Wilson implies that Pet Sounds was created at Brian’s Bel Air home studio. It wasn’t, that home studio stuff came a little bit later.

This next one is a doozy regarding Jan and Dean, “When Jan had a terrible motor car accident and was so badly hurt, he never recovered from his physical injuries. It was like a trigger for my dear uncle. He was never the same after it happened. He just flipped and locked himself inside his room.” Jan’s accident was April 1966. In fact, Brian continued to work productively throughout 1966, 1967 and even a lot of 1968. Yes, he didn’t release Smile, but he wrote all of 1967’s Wild Honey and co-wrote most of 1968’s Friends. This isn’t a nitpicking detail, but an important period in American Rock n Roll. To oversimplify what really happened only serves to perpetuate the sort of confusion and misunderstanding around Brian Wilson and the Beach Boys that Scott claims to want to clear up with regard to his Dad.

The author was Dennis’ step-son, and one can’t help but think he spent a lot of quality time with Dennis only for the few years he lived with him before he moved on to other women, making his own babies with them. Scott spends so much time trying to persuade us as to how much time and how absolutely wonderful it was being around Dennis, that you can’t help wondering whom he’d trying to convince the most, the reader or himself? Still, he had enough contact with Dennis in his later years to offer several first-hand accounts of Dennis’ man-child antics. Albeit put over too often with a veneer of silly fun loving rascal behavior, when clearly Dennis was destructive, including a horrible influence on Scott. Scott never seems to grasp that just because Dennis was “fun”, doesn’t make him a good Day in any way shape or form. Scott beats us over the head with his near obsessive devotion to Dennis, so much so, that you’re waiting for the next shoe to drop, where he finally sees the light. However, enlightenment never really comes. Instead Scott is always forgiving Dennis’ sins, yet holding contempt for many others. For example, Scott hates one of Dennis’ later wives for turning him onto harder drugs. Seriously? Like he wasn’t already on that highway to Hell?

I’m not suggesting Scott should hold the person he considered to be his Dad in contempt. However, I was hoping for a few more tidbits of hard earned worldly insights, or more nuanced and adult perspectives on the people around him growing up. Instead, we get one long slathering, unbalanced, love letter to Dennis Wilson, who could do no wrong in Scott’s eyes. I doubt many of Dennis’s wives or other children felt he could do no wrong. Scott is also pretty full of himself, which is surprising considering what an a$$hole he clearly has been much of his life, and also doesn’t seem to have had much true introspection nor deep epiphanies.

Although Scott loves his Dennis’ music, he doesn’t offer much appreciation, nor insight, into his Dad’s music. Not just the Beach Boys, but Dennis’ own compositions and singing. Particularly his work on Sunflower isn’t even mentioned. I was hoping he’d have deconstructed that stuff a lot more, and what a mountain of potential got flushed due to addiction.

Scott does have redemption at the end of the book. Some small insights are revealed, but most important Scott’s direct work, and funding of, the Beach Boys monument in Hawthorn is pretty freakin’ cool. He may not be a musicologist, but he sure respects the Beach Boys legacy, and literally put his money where his mouth is. Pretty darn impressive

All that said, it’s still a fun read for Dennis Wilson fans; almost in a tabloid sort of way. When you mix in what you learn about Dennis Wilson, with the fact that Dennis was a pretty brilliant singer and, at times, songwriter, you can come to your own conclusions about the complicated person Wilson was, and what a waste of talent his addictions caused.

.

11 of 11 people found the following review helpful.
Good book!
By Scott Brewington
I really enjoyed this book and found it to be very interesting! It contains personal stories and insight from Dennis Wilson's son, Scott, that you don't see in other Beach Boys related books. The book also contains a lot of cool photos that I've never seen before. The only critique I would have is that it does not seem to have been professionally edited, which may have helped with the overall flow and context of the book. Still, it was an enjoyable read!

7 of 7 people found the following review helpful.
A softer side of Dennis Wilson
By nancy m
After reading all of the stories about how violent and destructive Dennis Wilson was, it was nice to read a book that showed a different side of him: generous, compassionate, kind to animals and children. The book is a very fast read; I had time to read it cover to cover and write this review while my TV dinner is heating up. The writing is simplistic and child-like, but that wasn't a big deal.

What troubled me more was that the book was virtually bereft of any stories about Carl and Brian Wilson. I also wanted to know whether Dennis' parents accepted Scott as a grandson given that he was adopted. The Dennis stories themselves smacked of idolatry more than realism, though that is understandable given the nature of the book. Was it worth $9? I'd say so, if for no other reason than a truly great quote from Christine McVie.

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