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What’s a rock star to do when his talent fails him and his career has withered and died? Fed up with never-ending humiliations, Dave Masters fakes his own death in an attempt to boost his record sales, walking away from an industry that turned its back on him. But what’s a dead rock star to do when he realises too late that he can’t live without the stage? Dave decides to set up as his own tribute act, and starts all over, soon discovering that building a new life isn’t as easy as he might have thought. Dead Man Singing is a rollercoaster ride through Dave’s posthumous life; his brushes with fans, lovers, rivals, stalkers, gangsters, the law and the most dangerous enemy of all – himself. Can he come out of the other side of death alive?
Making it in Hell, says Bruce Jackson, is the spirit behind the sixty-five work songs gathered in this eloquent dispatch from a brutal era of prison life in the Deep South. Through engagingly documented song arrangements and profiles of their singers, Jackson shows how such pieces as "Hammer Ring," "Ration Blues," "Yellow Gal," and "Jody's Got My Wife and Gone" are like no other folk music forms: they are distinctly African in heritage, diminished in power and meaning outside their prison context, and used exclusively by black convicts. The songs helped workers through the rigors of cane cutting, logging, and cotton picking. Perhaps most important, they helped resolve the men's hopes and longings and allowed them a subtle outlet for grievances they could never voice when face-to-face with their jailers.
Jason is a quiet boy, but when he finds his cousin Shelby’s old ouija board, he finds plenty to say . . . and none of it pleasant. Unaware of his own considerable psychic gifts, Jason and his cousin are soon forced to contend with the particularly nasty spirit of a long-dead Confederate soldier and a curse that has sown discord in the family for generations. Gripping and suspenseful, The Dead Man is at once a tale from the crypt and a story about how the “ghosts of the past”—once they emerge into consciousness—have the tendency to force a reckoning that can make or break family ties.
From the first Police album, Outlandos D'Amour, through Sacred Love, here are the collected lyrics written by Sting, along with his commentary. “Publishing my lyrics separately from their musical accompaniment is something that I’ve studiously avoided until now. The two, lyrics and music, have always been mutually dependent, in much the same way as a mannequin and a set of clothes are dependent on each other; separate them, and what remains is a naked dummy and a pile of cloth. Nevertheless, the exercise has been an interesting one, seeing perhaps for the first time how successfully the lyrics survive on their own, and inviting the question as to whether song lyrics are in fact poetry or something else entirely. And while I’ve never seriously described myself as a poet, the book in your hands, devoid as it is of any musical notation, looks suspiciously like a book of poems. So it seems I am entering, with some trepidation, the unadorned realm of the poet. I have set out my compositions in the sequence they were written and provided a little background when I thought it might be illuminating. My wares have neither been sorted nor dressed in clothes that do not belong to them; indeed, they have been shorn of the very garments that gave them their shape in the first place. No doubt some of them will perish in the cold cruelty of this new environment, and yet others may prove more resilient and become perhaps more beautiful in their naked state. I can’t predict the outcome, but I have taken this risk knowingly and, while no one in their right mind should ever attempt to set “The Waste Land” to music, in the hopeful words of T. S. Eliot, These fragments I have shored against my ruins.” —Sting, from the Introduction
An incessantly ringing cell phone in a quiet caf. A stranger at the next table who has had enough. And a dead man - with a lot of loose ends. So begins Dead Man's Cell Phone, a wildly imaginative new comedy by playwright Sarah Ruhl, recipient of a MacArthur ''Genius'' Grant and Pulitzer Prize finalist for her play The Clean House. A work about how we memorialize the dead - and how that remembering changes us - it is the odyssey of a woman forced to confront her own assumptions about morality, redemption, and the need to connect in a technologically obsessed world. Sarah Ruhl's plays have been produced at theaters around the country, including Lincoln Center Theater, the Goodman Theatre, Arena Stage, South Coast Repertory, Yale Repertory Theatre, Berkeley Repertory Theatre, among others, and internationally. She is the recipient of the Susan Smith Blackburn Prize (for The Clean House, 2004), the Helen Merrill Emerging Playwrights Award, and the Whiting Writers' Award. The Clean House was a Pulitzer Prize finalist in 2005. She is a member of 13P and New Dramatists.
Between 1994 and 1997, Canadian-based Bre-X Minerals sponsored and enthusiastically promoted listings on the TSX and NASDAQ by JPMorgan, Lehman, BMO, Scotia as well as others, who were exploring for gold on the Busang property on the Indonesian island of Borneo. Their efforts bore the discovery of a lifetime: a mammoth deposit speculated to contain over 200 million ounces of easily extractable gold. The company's stock exploded from 25 cents to $270, giving them a valuation of over $6 billion. Major mining companies like Barrick, Placer Dome and Freeport McMoran started competing to develop the largest gold deposit ever discovered. In early 1997, Suharto and his Indonesian government took control of the deposit, by force, and commissioned Freeport to build a mega mine. In the ensuing months, due diligence revealed that the deposit was a gigantic hoax! There was no gold in Busang. The principals of Bre-X were accused (but never convicted) of salting (adding gold) the samples before sending them to the labs. Michael de Guzman, a Filipino geologist who served as the project manager, infamously jumped from a helicopter into the abyss of Borneo's jungle. Minorca Resources of Toronto were the financial partners of the Haji Saykerani group of companies who owned Busang. Alfred Lenarciak was the chairman of Minorca at the time. In a strange twist of fate, in February of 2012, Alfred had a chance encounter in Rome, Italy with a man named Akiro Guzzo, who shared with him an amazing story on the life and death of Michael de Guzman: is this really a dead man's story?
Singing for the Dead chronicles ethnic revival in Oaxaca, Mexico, where new forms of singing and writing in the local Mazatec indigenous language are producing powerful, transformative political effects. Paja Faudree argues for the inclusion of singing as a necessary component in the polarized debates about indigenous orality and literacy, and she considers how the coupling of literacy and song has allowed people from the region to create texts of enduring social resonance. She examines how local young people are learning to read and write in Mazatec as a result of the region's new Day of the Dead song contest. Faudree also studies how tourist interest in local psychedelic mushrooms has led to their commodification, producing both opportunities and challenges for songwriters and others who represent Mazatec culture. She situates these revival movements within the contexts of Mexico and Latin America, as well as the broad, hemisphere-wide movement to create indigenous literatures. Singing for the Dead provides a new way to think about the politics of ethnicity, the success of social movements, and the limits of national belonging.
'The Singing Sands' is a detective novel written by Josephine Tey, the pseudonym used by Elizabeth MacKintosh. It follows a Scotland Yard inspector named Alan Grant, who while on sick leave, happened upon a dead man in the night train he rode on his way to Scotland.
It is the run-up to Christmas when two seven-year-old boys are abducted from the streets of Glasgow. For DI Colin Anderson the case is especially disturbing, because the boys look so much like his own young son Peter. When a simple house fire turns into a full-scale murder investigation, and with cold and flu season having taken many officers off the street, the force is stretched to breaking point. DS Costello’s hunch is the crimes are connected, and a killer is ingeniously hiding his trail. As the squad continues to struggle working both cases, for DI Anderson the nightmare is about to get terrifyingly close to home.