Senin, 29 September 2014

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David Busch's Sony Alpha a5000/ILCE-5000 Guide to Digital Photography, by David D. Busch

The Sony a a5000/ILCE-5000 is one of the most innovative mid-level cameras that Sony has ever introduced. It boasts 20 megapixels of resolution and full high-definition movie-making capabilities, all in a remarkably compact body. As the owner of a Sony a a5000/ILCE-5000, you demand the ability to take outstanding pictures with your new camera. DAVID BUSCH'S SONY A5000/ILCE-5000 GUIDE TO DIGITAL PHOTOGRAPHY shows you how, when, and why to use all the cool features, controls, and functions of the Sony a5000/ILCE-5000 to take great photographs and movies. Introductory chapters will help you get comfortable with the basics of your camera before you dive right into exploring creative ways to apply file formats, resolution, and exposure. Beautiful, full-color images illustrate where the essential buttons and dials are, so you'll quickly learn how to use the Sony a a5000/ILCE-5000, and use it like a pro! With DAVID BUSCH'S SONY A5000/ILCE-5000 GUIDE TO DIGITAL PHOTOGRAPHY, you'll learn how to select the best autofocus mode, shutter speed, f/stop, and flash capability to take great pictures under any conditions; advanced shooting techniques, including high-definition movie making; and the basics of good photography as you master your camera's operation!

  • Sales Rank: #404609 in Books
  • Published on: 2014-09-24
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 7.50" w x 1.00" l, .0 pounds
  • Binding: Paperback
  • 336 pages

About the Author
With more than two million books in print, David D. Busch is the world's #1 selling digital camera guide author, and the originator of popular digital photography series like David Busch's Pro Secrets and David Busch's Quick Snap Guides. He has written more than two dozen hugely successful guidebooks for Sony  cameras, as well as many popular books devoted to photography, including Mastering Mirrorless Interchangeable Lens Photography, and Digital Pro Secrets.

As a roving photojournalist for more than twenty years, he illustrated his books, magazine articles, and newspaper reports with award-winning images. He's operated his own commercial studio, suffocated in formal dress while shooting weddings-for-hire, and shot sports for a daily newspaper and upstate New York college. His photos and articles have appeared in Popular Photography, Rangefinder, Professional Photographer, and hundreds of other publications. He's also reviewed dozens of digital cameras for CNet and other CBS publications, and his advice has been featured in National Public Radio's All Tech Considered.

When About.com named its top five books on Beginning Digital Photography, debuting at the #1 and #2 slots were Busch's Digital Photography All-In-One Desk Reference for Dummies and Mastering Digital Photography. During the past year, he's had as many as five of his books listed in the Top 20 of Amazon.com's Digital Photography Bestseller list--simultaneously! Busch's 200-plus other books published since 1983 include bestsellers like David Busch's Quick Snap Guide to Digital Lenses. Visit his website at dslrguides.com/blog.

Most helpful customer reviews

11 of 12 people found the following review helpful.
Must have book for all Sony a5000 owners!
By Brandon
Prior to upgrading to the Sony a5000, I only had experience with point and shoot cameras. This book has been extremely helpful in discovering all the a5000 has to offer and taking better quality photos. Not only will the book go into detail about the features and how to use them on this camera, but it also goes into general photography techniques and applies them to this camera specifically.

Due to the number of different camera books the author has, I was a little worried this would be a general photography book with a few a5000 references thrown in and an a5000 slapped on the cover, but that is certainly not the case. The book is very thorough and the author clearly has mastered the a5000. I would highly recommend this book to any a5000 owner, especially those who are new to the Sony mirrorless cameras. It is a great value for the content and quality of the book.

2 of 2 people found the following review helpful.
very helpful
By Amazon Customer
This book was essential for me to understand all the bells and whistles of the Sony a5000. I had downloaded a PDF "manual" online, but this book had so much more detail, and explained things in a way I could understand. I loved it. I can't imagine learning my new camera's features without this book. I bought the book in both softcover and the kindle edition. I found the kindle copy to be the best option for me, since I could make bookmarks and/or notes of every explanation that I thought I'd need to revisit.

7 of 8 people found the following review helpful.
but to really get the best shots you need to know how to use some ...
By Amazon Customer
Despite its low price, the a5000 is a very capable camera; you could use it as a basic point-and-shoot, but to really get the best shots you need to know how to use some of its autofocus and exposure control capabilities. The Sony manual and "help" guide really aren't up to the task, but this book definitely is. It has clear explanations of the controls and includes many pictorial examples to show how changing settings will affect a photo. I would strongly recommend it to anyone who hasn't done much beyond point & shoot. It would be really difficult and time consuming to learn that by trial and error.

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Jumat, 26 September 2014

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Offering 171 unique cases, Gastrointestinal Imaging Cases features over 700 high-quality images. The clinically relevant cases cover both benign and malignant conditions and are grouped into 12 sections organized by the parts of the Gastrointestinal System including: the Pharynx and Esophagus, Stomach, Duodenum, Small Intestine, Appendix, Colon, Rectum, and Anus, Liver, Gallbladder, Bile Ducts, Pancreas, Spleen, and Mesentery and Peritoneum. Within each section, the cases appear in a random order to facilitate the self-assessment experience of reading cases as unknowns. Each case is complete with pertinent findings, differential diagnoses, management recommendations, teaching points, and suggested further reading. This comprehensive, yet easy-to-follow, casebook is an ideal tool for the resident preparing for the boards, the fellow for recertification exams, or the radiologist in need of a quick review.

  • Sales Rank: #1000664 in Books
  • Brand: Brand: Oxford University Press, USA
  • Published on: 2013-06-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.00" h x .90" w x 10.00" l, .0 pounds
  • Binding: Paperback
  • 400 pages
Features
  • Used Book in Good Condition

About the Author

ADL: Professor of Radiology, Georgetown University Medical Center, Washington, DC. KJM: Associate Professor of Radiology, Harvard Medical School, Boston, Massachusetts. BMY: Professor of Radiology, University of California, San Francisco, California.

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  • Sales Rank: #3984936 in Books
  • Published on: 2010-03-29
  • Binding: Spiral-bound

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Rabu, 24 September 2014

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This beautifully illustrated book will be the standard work on the subject for a generation.
-- Brian Fagan, University of California, Santa Barbara

An entertaining, authoritative, and up-to-date review of one of the most contentious issues in archaeology today: the early peopling of the Americas.
-- Ian Tattersall, American Museum of Natural History

The migration of Homo sapiens into the Americas remains to this day a contentious subject amongst archaeologists. Strangers in a New Land represents a clear, interesting and well documented review of the arguments from all sides about how and when migrants came to the New World, where they came from, and what they were doing.
-- Aldona Jonaitis, University of Alaska Museum of the North

In Strangers in a New Land, the authors tell the absorbing story of the first people to explore and colonize the Americas at the end of the last Ice Age with captivating discussions of key concepts and descriptions of the most important First American sites from Alaska to South America. This is a book for anyone interested in learning about the first intrepid people who explored and settled the New World.
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Strangers in a New Land is a profound and challenging account of an intensely controversial subject, the first human occupation of the New World, written by an acknowledged master.
-- Tom Dillehay, Vanderbilt University

Where did Native Americans come from and when did they first arrive? Several lines of evidence, most recently genetic, have firmly established that all Native American populations originated in eastern Siberia.

For many years, the accepted version of New World prehistory held that people arrived in the Western Hemisphere around 13,000 years ago. This consensus, called "Clovis First," has been increasingly challenged by discoveries at numerous archaeological sites throughout North and South America and is now widely considered to be outdated.

The latest findings have convinced most archaeologists that people came to the Western Hemisphere thousands of years prior to Clovis. There is credible evidence of a human presence in the Americas dating to 19,000 years ago and perhaps as early as 38,000 years ago. The prehistory of the very earliest arrivals into the New World is the subject of Strangers in a New Land.

This book documents 35 Clovis and Folsom sites, disputed pre-Clovis sites, legitimate pre-Clovis sites and controversial pre-Clovis sites. This covers an area that stretches from Bluefish Cave, Canada, 70 kilometers north of the Arctic Circle to Monte Verde, Chile, 14,000 kilometers south of Bering Straits. The discovery and history of each site is accompanied by photographs, maps and diagrams that illustrate the excavations and chronicle the evidence of human activity. Strangers in a New Land brings these findings together for the first time in language accessible to the general reader.

An excellent selection for physical and cultural anthropology, archaeology and prehistory collections.

  • Sales Rank: #10974 in Books
  • Published on: 2016-09-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x 1.13" w x 9.00" l, .0 pounds
  • Binding: Hardcover
  • 352 pages

About the Author

J. M. Adovasio has overseen over four decades of archaeological research at the renowned Meadowcroft Rockshelter, one of the best dated pre-Clovis sites in the Western Hemisphere. Adovasio is author of over 250 journal articles and five books, including, with Olga Soffer, The Invisible Sex: Uncovering the True Roles of Women in Prehistory. He is currently a Research Associate of the Senator John Heinz History Center in Pittsburgh.

David Pedler is Editor at the Lighting Research Center, School of Architecture, Rensselaer University and a Research Associate of the Senator John Heinz History Center in Pittsburgh.

Excerpt. © Reprinted by permission. All rights reserved.

1 FOLSOM

Location: Union County, New Mexico, United States
Coordinates: 36 degrees 52'54.05"N, 104 degrees 4'16.13"W.
Elevation: 1,948 meters above mean sea level.
Discovery: George McJunkin in 1908.

While Folsom is one of the best-known Paleoindian sites in American archaeology, after over eighty years of archaeological investigation much remains unknown about the Paleoindians who hunted now extinct bison there.

The Folsom site provided the first definitive evidence that humans shared the New World landscape with and hunted extinct Late Pleistocene animals, in this case Bison antiquus, and has been called "the place that forever changed American archaeology" by noted authority on the site David Meltzer. Folsom also serves as the complex's type site, defined by the Oxford English Dictionary as "the site where objects or materials regarded as defining the characteristics of a particular period were found." The Folsom complex was a cultural manifestation that endured for about 700 years and whose range extended from the Rocky Mountains to the central Great Plains, from central Texas to just south of the Canadian border.

The Folsom site is located in the northeastern corner of New Mexico near the Colorado border, about 15 kilometers west of the village of Folsom and about 200 kilometers northeast of Santa Fe, on the southwestern reaches of the Great Plains about 100 kilometers east of the Rocky Mountains. The site lies principally on the southern bank of Wild Horse Arroyo (also known as Dead Horse Arroyo), a narrow, ephemeral tributary of the Dry Cimarron River which in turn is a tributary of the Arkansas River and, ultimately, the Mississippi. The regional physiography is dominated by volcanic landforms and large flat-topped mesas that are divided by several major river systems and interspersed with grasslands and open woodlands. [Figure 1.1] The river valleys generally trend from west to east and, along with several mountain passes currently used by modern highways, would have provided ready human and animal access to the region from the High Plains to the east.

During Folsom times, the climate appears to have been drier and cooler than today with fairly snowy winters. Although tree species were probably similar to those present today, it appears that vegetation was more open with abundant grass- and shrub-covered parkland, scattered wetlands, ponds, and lakes. These conditions would have made the region attractive to bison, but apart from the prospects for hunting, not altogether attractive to humans. There were no sources for nearby toolstone, few springs, and few edible plants to distinguish the site's immediate area from adjacent, more ecologically diverse places. The site's attraction, in other words, was primarily its position in a landscape dominated by a topography that helped to channel people and animals around impassable, steeper areas such as mesas and volcanoes.

The Folsom site is widely believed to have been discovered by a cowboy named George McJunkin sometime after a destructive and deadly 1908 flash flood of Wild Horse Arroyo exposed bison bones on the eroded arroyo floor. [Figure 1.2] The site had remained known only to avocational naturalists until early in 1926, when Jesse Dade Figgins and Harold Cook of the Colorado Museum of Natural History in Denver visited the site in the interest of recovering a bison skeleton for display. After about a month's excavation, this presumed exclusively paleontological site became an archaeological locality with the discovery of a Folsom point, followed by a second point a month after that. Neither of these artifacts was found actually embedded in bison remains. Upon presenting Smithsonian curator Ales Hrdlicka with his finds in early 1927, Figgins was advised that he should halt excavation and invite the inspection of "outside scientists" to confirm the recovery of any embedded (and therefore indisputably associated) artifacts that might be encountered in the future.

Several Folsom points embedded between the ribs of extinct bison were subsequently recovered from the site during the 1927 and 1928 field seasons (the latter conducted in collaboration between the Colorado Museum of Natural History and the American Museum of Natural History). Visits by elite scholars ultimately confirmed the site as, minimally, a very Late Pleistocene bison kill. [Figures 1.3 and 1.4] But some significant questions remained. In the absence of radiocarbon dating, which would not be available for another twenty years, the site's age remained unknown and only broad estimates (ranging from "thousands of years" old to 20,000-15,000 yr BP) could made by the excavators. Additionally, because the excavation methods of the time employed only very crude measurement techniques and the project was primarily focused on removal of the bones rather than precisely documenting the site, the lay of the land at the time of the site's formation also remained unknown. [Figure 1.5] Had the site been a streambed, marsh, pond, lake during the Late Pleistocene? No one could say.

Despite its international acclaim and pivotal role in a watershed moment of American archaeology, the Folsom site remained curiously absent from scholarly publications following the brief flourish of mostly superficial treatments that appeared immediately after its discovery. The reporting of subsequently discovered Folsom sites--there are now at least forty-five localities recorded on the Great Plains and in the Rocky Mountains--had essentially eclipsed the type site until 1997, when archaeologists at Southern Methodist University in Dallas returned to the site with a major multidisciplinary research project.

The Southern Methodist University work was conducted over the course of three field seasons (1997-1999), periodic brief site visits thereafter (2000-2004), and several years of laboratory investigations, culminating in the publication of an outstanding monograph in 2006, Folsom: New Archaeological Investigations of a Classic Paleoindian Bison Kill. The project team, led by David Meltzer, sought to (1) determine whether intact bone deposits remained, (2) determine whether a Folsom-age camp or habitation site was present, and (3) elucidate the site's stratigraphy, chronology, and paleoenvironment. The project also sought to integrate its approach, methods, and findings with those carried out at the site some seventy years earlier and by Vance Haynes and his colleagues in the 1970s under the auspices of the Folsom Ecology Project. Newly excavated portions of the site covered about 375 square meters over the course of the Southern Methodist University project, and questions concerning the site's stratigraphy and formation were addressed via extensive sedimentological coring, augering, and geophysical studies.

The new work at the site demonstrated that the Folsom site landscape had undergone considerable geological alteration since late glacial times, and that a thick layer of more-recent sediments overlays and masks the former Late Pleistocene landscape. [Figure 1.6] The site's stratigraphy is composed of three discrete formations which include, from top to bottom, the Wildhorse (a relatively thin, recent deposit that is no older than 700 years), the McJunkin (a 2-meter thick Holocene deposit that dates from about 7950-7580 yr BP to 5320-4860 yr BP), and the Folsom (a 2-meter thick Holocene through Late Pleistocene deposit that dates from about 15,150-13,790 yr BP to 10,510- 10,250 yr BP). The bison bones and Folsom artifacts recovered from the site occurred within the middle of three Folsom formation subdivisions, named f2, which was radiocarbon dated to an unhelpfully broad range of about 13,440-13,270 yr BP to 11,720-11,280 yr BP, a span which is about three times the presently known duration of the Folsom complex.

Obtaining a more precise date for of the Folsom-age bone bed within the f2 deposit was partly achieved by modeling the site's topography as it appeared in the Late Pleistocene. [Figure 1.7] Sediment co

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Five Stars
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0 of 0 people found the following review helpful.
A good compromise
By td
Excellent book. Love the way the authors have pulled together a variety of source material and will annotated.
This is a good compromise between text and popular book.

0 of 0 people found the following review helpful.
Enjoyable and informative
By Kathy K
I bought this book for my husband and he is really enjoying reading it. Lots of nice illustrations.

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Sabtu, 20 September 2014

[F973.Ebook] Ebook Download Enjoy The Experience: Homemade Records 1958-1992, by Gregg Turkington, Will Louviere

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Enjoy The Experience: Homemade Records 1958-1992, by Gregg Turkington, Will Louviere

Enjoy the Experience is the largest collection of American private-press vinyl ever amassed and presented, featuring more than 1,000 cover reproductions from 1958–1992. The musicians here range from awkward teen pop combos to pizza-parlor organists; religious cult leaders to Sinatra imitators. But this is not a novelty show: also profiled and discussed are some of the most highly regarded rock, soul, jazz, funk and singer/songwriter albums from the latter half of the twentieth century. Enjoy the Experience begins when the custom-pressed American record plant came into existence and ends, largely, with the birth of the CD. As such, it is a snapshot of America in the second half of the twentieth century and collates a bevy of tales and albums released by the brave souls who took the plunge and committed their musical vision to wax. Enjoy the Experience details a forceful American cultural experience that stands in juxtaposition to the mainstream even as its creators attempted to infiltrate it. With a wealth of full-color reproductions, an introduction by editor Johan Kugelberg, an overview by legendary record dealer Paul Major, along with commentaries, reviews and 50 biographies by noted enthusiasts and collectors, Enjoy the Experience also includes a download card for dozens of the greatest songs culled from the book.

  • Sales Rank: #1165001 in Books
  • Published on: 2013-06-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x 9.00" w x 1.25" l, 4.20 pounds
  • Binding: Hardcover
  • 512 pages

From Bookforum
A private-press LP at the thrift store is a curio, a personal find, but the same LP featured in a coffee-table book is a collector’s item. Whatever you might have made of the original, it wasn’t—by definition—salable. After being included in this stylish art book though, that scarcity becomes value. And it’s unmistakable that many of the album covers in Enjoy the Experience have the novelty, mystery, and visual apeal that translate into consumer desirability. Indeed, that desirability underliesmuch of the book’s raison d’être. Like galleries or fine-art collectors, the editors of Enjoy the Experience, have, in cataloguing their passion, marketed it as well. […] The album art in this volume stretches the genre because we haven’t seen it before. But once we have, the real surprise may be how comfortably it fits inside. —Damon Krukowski

Review
The private-press LPs documented in this spectacularly fun coffee-table book routinely cross those boundaries - sometimes with an eye toward the slick, other times toward the sick, but rarely with hopes for anything like popular approval. Although many of the elements found here - stock images, cliched photoops, idiosyncratic philosophies, and a distorted sense of self - played tjeir role in commercial album art, the homemade versions extend these strategies into the realm of outsider art. A private-press LP at the thrift store is a curio, a personal find, but the same LP featured in a coffee-table book is a collector's item. Whaterver you might have made of the original, it wasn't - by definition- salable. (Damon Krukowski Bookforum)

Coming in at a whopping 512 pages with over 1,000 illustrations, this book is a Herculean feat of cultural musicology, graphic design, and collectorship siphoned through the rich history of private-press recordings - vynil record albums produced and paid for by the musicians themselves, mainly in the 1960s and '70s in the U.S. (Sarah E. Fensom Art & Antiques)

An affectionate overview …of the musically-inclined but record-labelly-declined. (Editors Esquire UK)

“Sumptuous… editors Johan Kugelberg, Michael P. Daley, and Paul Major have collected more than 1,000 of the wildest, weirdest, sweetest, and coolest vanity vinyl covers.” (Editors Spin.com)

A collective aura of strangeness. (Edtors The Guardian)

The albums memorialized here aren’t from a better time or a more passionate place ― the internet is full of evidence that the beautiful, iterative spirit of humans is hardly dead. But there is a specific light shining through the detritus of all the missions noted here: Once upon a time, it was really difficult to release your own album. The time and focus necessary to make one of these things was part of a ritual act. Reaching even the most distant shore of the mainstream was about devotion as much as ambition. Salute the sweat. (Sasha Ferra-Jones The New Yorker)

Plumbing the depths of many obsessed collectors’ archives (including their own), editors Michael P. Daley and Johan Kugelberg pulled the best of the very best records. (Storm Christian Vice.com)

About the Author
Johan Kugelberg is a renowned curator and writer of all things subculture who, like many fortunate others, grew up on a diet of skateboarding and punk music.

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13 of 13 people found the following review helpful.
EXTENSIVE LOOK AT DIY ALBUM ARTWORK
By Stuart Jefferson
This book, in 505 pages, contains around 1,000 of the oddest, weirdest, DIY album covers you'll ever see from the years 1958-1992. This is the world of the privately pressed record album. And that includes the album jacket. This handsome large format hardcover book is filled with "artists" who never had a prayer of being picked up by a large record label. So they went the do-it-yourself-route, including the album artwork. In fact, the artwork for this book's cover is taken from an album cover photo which has been used more than once. Image size ranges from several to a page to larger (some one to a page) reproductions. Personally I dislike small images because I'm from the 12" vinyl album era. The same with books that collect music posters-the bigger the reproduction the better. But I know that size is related to price and the physical size of the book. To put it simply-this is the best book yet on oddball album covers that's been published. The combination of graphics, biographies and interviews make this the book to have in your library.

The book (which comes sealed in plastic) has a removable OBI strip, and the 7" clear record is inside a plastic sleeve on the back of the book. The paper stock is a matte finish. The reproductions are crisp and clean-no fuzzy graphics here. At the bottom of each page is listed the title, artist, date (if known), recording company (if known), and the Catalog number. There's also biographies on a number of people whose albums are included in the book. These add both depth and interest to the collection. Finally there's an "A-to-Z of our favorite tunes" at the back of the book. You also have a chance to hear some of this music on the companion set-released on both vinyl and CD.

A number of genres are here, including some that are difficult to categorize. And that's what makes this book so fascinating. It's not that this is inherently terrible artwork-though some is-but rather it's a fascinating look into how people see their music (or whatever, in some cases), and how they want it represented. Check out Fab Company, "...Our Songs, For You". Or right across the page is Ethel Delaney with "Heeere's 'Ethel'" (sic) with the Buckeye Strings. Or ("The Man Of Many Voices") Bob Harrison-with his album "Yellow Moon". Or Lee Wyatt's album "Candlelight". Another great cover is by The Outlaws, whose album, "Big Mac" shows a photo of the band in prison garb in front of the Oklahoma State Penitentiary. And right next to it is an album titled "Contraceptive Put You On" (sic), with a lot of naked women on the cover. Or a slightly disturbing album cover by Roy Waldrop, "Heart of a Clown", check it out and I think you'll agree.

And one of my real favorites is here, Mistress Mary-housewife (sic). She's billed as a "wife, mother, civic leader, etc., artiste". There's some great song titles including "Smooth Talking Con-man", "Dirt Will Be Yer Name" (sic), and "I Don't Wanna Love Ya Now" (sic). Included on the (undated) album jacket is a sexy photo (in color!) of Mistress Mary lying on some pillows, and some b&w photos of Mistress Mary, apparently at home rustling up some grub, sweeping the kitchen floor and relaxing on some pillows watching TV. The notes tell us (among other things) that she sings "some country-western", "some soft-soul", and "some whatever". Apparently a solo album, Mary is responsible for "Songs, Sing, Strum". She's also "...the exploding celestial cosmo in the heavenly housewifes firmament of the entertainment field..." (sic). She seems to reside in Hacienda Heights, Ca. Hmmm.

And then there's Robbie The Werewolf (Robison). A folk singer who spoofed other folkies and their music of the day-sometimes by dressing up as a werewolf. Robison was married to Barbara Robison-better known as Sandi Peanut Butter, of The Peanut Butter Conspiracy. Fans of late 60's L.A. music will remember their two albums originally on the Columbia label. He also played with Dallas Taylor and Bob Seal and a few others in a band that would morph from the Garnersfield Sanitarium into Brain Train, and then into Clear Light, known for their lone album on the Elektra label. Robison's album "At The Waleback" was recorded at the same venue that the pre-Peanut Butter Conspiracy group, The Ashes (who also recorded), also played.

And I really like the two-part cover painting by The Gospel Rhythm-Aires, "I'll Never Be Afraid", with cut-outs of the family singers "standing" in a painted forest with a hazy impression of Jesus, with arms outstretched, above them. The other half of the cover is a painting of a city in smoke and flames. And then there's the many albums by singers/musicians/ oddballs that you've never heard of-and I have to wonder-whatever happened to all these people? All are good examples of DIY album artwork. To help shed some light into what we're looking at (if that's possible) there's an interview (among other pieces regarding this music) with Paul Major (also known as Top Dollar to fans) on rare/privately pressed records. Also included are excerpts of record reviews from Major's "Catalogs 1986-2000". Some of the many biographies of these people are pretty interesting, and really give good depth to the album art. The essays give those interested a good look into the musical lives of a number of these "artists".

But the main reason for purchasing this book is the extensive look at a small but vital part of the record industry who cater to privately pressed albums. The only factor that would make fans stop and think about purchasing this cool book is the high price. It's a beautiful book, with thick front and back covers, there's a 7" single on how to get your own album out, and a cardboard download card with a printed code which can be used to listen to some of this music. There's also a collection of recordings available from some of these "artists". But this is pretty esoteric going here, so fans into album artwork (like me) who like off-beat artwork are the only ones who will be interested.

But if you've ever rummaged through stacks of albums at The Salvation Army, used vinyl record stores, or a pile of albums at a garage sale, and come up with some oddball album with a strange cover, and thought "I've got to have this", then this book is for you.

2 of 2 people found the following review helpful.
A Welcome Gift
By Amazon Customer
I bought this as a gift for my boyfriend, the vinylphile. My knowledge on the subject of vanity presses began and ended with The Shaggs, and I know the facts on their story are debated. That said, I think I've enjoyed this as a coffee table book, possibly more than he has. The cover art is the focus, but through browsing, you'll also learn about the culture and economics that brought these kind of recordings into being. I'll always treasure the story behind Jr. and his Soulettes, a child band managed by the eponymous Jr's dad, who ruined all their LPs by shrink wrapping them in a butcher shop to save money and hired prostitutes to dance with a puppet while he filmed it. This will be on our coffee table as long as we have one.

0 of 0 people found the following review helpful.
A fun-to-flip-through, clunkily-written coffee table book
By BOODONKA:)
A photographic document of private press record covers. If you've ever enjoyed browsing through the cheapo shelves underneath the "good" records-- laughing at the cheesy covers or appreciating a naive or strange illustration-- you'll enjoy this book.

The text often leaves something to be desired, though. Many artist profiles fail to convey what exactly is noteworthy or unique about a given artist, and are instead clunky rundowns of biographical details without context. Sometimes the authors seem hamstrung by an inability to poke fun at their subjects, which is crippling if said artist was picked precisely because their music is actually funny-- odd, or off-kilter or cracked. It's the opposite approach of Irwin Chusid's all-too-often derisive approach in Songs in the Key of Z, a kind of tossed-off, workmanlike vagueness in the prose.

The accompanying music is good-- a few tracks are wonderful-- although perhaps the range of the music leaves something to be desired.

Overall, an unusual and fun coffee table book with muddled prose but some great recommendations for further listening.

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Senin, 15 September 2014

[K703.Ebook] Ebook Free Fast Facts for Adult Critical Care, by Kathy White

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12 Chapters including: CV, Hemodynamics, ACLS, Stat Meds, Med Facts, Drip Tables, ECG, Pacing, Resp, Neuro, Renal/Endo, Lab/IV'sBld; with SPECIALTY CHAPTERS for Trauma, IABP, CV Surg and Peds available at additional cost. The 12 Chapters include the following information. The most recent guidelines (2011) for: BLS and ACLS Standards: STEMI; Therapeutic Hypothermia following Cardiac Arrest; UA/NSTEMI, High Risk NSTEMI; Ischemic Stroke; Acute Heart Failure; (2009) Subarachnoid Hemorrhage; (2009) Sepsis; (2008) AHA/ACCP Guidelines for Anticoagulation; Over 80 "STAT Meds," offering critical information based on the "prescribing information" obtained from the manufacturer of each medication; 41 Infusion Tables, with details on how to mix and dose-titrate specific infusions; Essential information on over 16 classes of critical care drugs, from ACE inhibitors to Warfarin; ECG monitoring; 12-lead analysis; the characteristics and waveforms of 30 dysrhythmias; understanding axis deviation; how to do ST-segment monitoring; Assessing and treating Hemodynamic Crisis. Ensuring safety of PA catheterization and accuracy in hemodynamic monitoring techniques; Guidelines for neurologic critical care; AANN Guidelines for ICP Monitoring; therapeutic approach to unrelenting seizures, monitoring Brain PO2, managing intracerebral hemorrhage. Initiating Emergency Cardiac Pacing: a Step-by-Step Pictorial of the Pacer and the Lead Connections; Guidelines on the Prevention of VAP (Ventilator Associated Pneumonia). Critical care of respiratory failure, renal failure, electrolyte Imbalance, CRRT, and endocrine crisis; Laboratory values (expressed in conventional units, as well as Systeme Internationale Units). Blood Component Therapy, Fluid and Transfusion Hazards; and Guidelines for critical management of the Organ Donor. A total of 206 illustrations and drip tables, all in color.

  • Sales Rank: #324337 in Books
  • Published on: 2010
  • Original language: English
  • Dimensions: 7.20" h x 1.50" w x 5.00" l,
  • Binding: Ring-bound

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6 of 6 people found the following review helpful.
Absolutely the best
By Nurse Tami
This is the best paper resource there is for critical care nurses. If you learned it once in residency and you have the basics down, this is the perfect guide for remembering some of those details. I work in a small hospital ICU and we get such a wide variety of patients that this book really helps when I need a quick reminder on a topic I haven't seen in a while. This is a ton of info packed into a small book. I like that you can add to the binder. It is sturdy enough to last for years. Kathy White publishes updates so be sure to get the latest version. And if you have iPhone...there's an app for it.

2 of 2 people found the following review helpful.
Didn't work for me.
By Horsebytes
I purchased this from the writer's website but it didn't fit my needs. The print was too small and the pages were too thin so this is only a review of the physical part of the book, not the information on the pages. Great idea though.

0 of 0 people found the following review helpful.
Five Stars
By chaekim
I love this book to take to work! it is a great reference!

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Selasa, 09 September 2014

[Q539.Ebook] Ebook Download 21 8 Oh! Invisible Man (Jump Comics Deluxe) (2006) ISBN: 4088596021 [Japanese Import]From Shueisha

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  • Binding: Comic

Most helpful customer reviews

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Selasa, 02 September 2014

[L729.Ebook] Free PDF 101 Amazing Card Tricks, by Bob Longe

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Have nothing but a deck of cards? With this book you'll soon be dealing out playful poker, and four-ace tricks that will make everyone say: "How did you do that?" If you can shuffle a deck, you can perform "jacks be nimble," "about face," "number nonsense," and dozens more. Clear illustrations demonstrate how to execute each move precisely. A chart gauges the difficulty of each trick.

  • Sales Rank: #952815 in Books
  • Color: Green
  • Brand: Longe, Bob
  • Published on: 1993-12-31
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.25" h x 5.25" w x .50" l,
  • Binding: Paperback
  • 128 pages

Most helpful customer reviews

4 of 4 people found the following review helpful.
Great for begginers
By A Customer
This book show those tricks you always wanted to do but you never had someone to teach you! Stunts like guessing cards and false shuffles are explained in this book with illustrations. These 101 card tricks are also rated by mastery level in the index, to make you advance slowly in your skill level. An excelent book. I also recommend "World's Best Coin Tricks", also by Bob Longe.

8 of 10 people found the following review helpful.
Don't Waste Your Time Unless...
By A Customer
Basically, it shows you a lot of cheap tricks that you yourself could have figured out. However, if you are starting out and looking for a couple good tricks it might not be sooo bad. How about this for short, a magician probably wouldn't buy this book.

2 of 2 people found the following review helpful.
Not for Serious Magicians
By AJ The great
This book does have some good tricks, but not really for serious magicians. You may go in for other titles like Royal Road to Card Magic, or Expert Card Technique, if you want to learn something worthy.

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