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This anthology includes both new pieces and outstanding previously published fingerstyle tunes. Veteran performers and talented young upstarts are given a forum for their best work. Intermediate to advanced in difficulty with nearly all pieces appearing in standard notation with tablature. Includes access to extensive online audio. The contributors are: Jonathan Adams, Muriel Anderson, Seth Austen,D.R. Auten, Douglas Back, Duck Baker, Steve Baughman, William Bay, Pierre Bensusan, Larry Bolles, Ben Bolt, Bill Brennan, Thom Bresh, Rolly Brown, Robin Bullock, Jonathan Burchfield, Michael Chapdelaine, Mike Christiansen,William Coulter, Marcel Dadi, Peppino D'Agostino, Craig Dobbins, Pat Donohue, Doyle Dykes, Steven Eckels, Tim Farrell, Peter Finger, Tommy Flint, Rick Foster, Stefan Grossman, Ole Halen, Todd Hallawell, Roger Hudson, JackJezzro, Buster B. Jones, Laurence Juber, Phil Keaggy, Pat Kirtley, Jean-Felix Lalanne, Jay Leach, Paul Lolax, Woody Mann, Dennis McCorkle, El McMeen, Dale Miller, Franco Morone, Stevan Pasero, Ken Perlman, Al Petteway, Bill Piburn, Chris Proctor, Harvey Reid, John Renbourn, Don Ross, Vincent Sadovksy, Dylan Schorer, John Sherman, Martin Simpson, Johnny Smith, Fred Sokolow, Tim Sparks, John Standefer, David Surette, Guy Van Duser, Al Viola, Paul Yandell, Andrew York, and John Zaradin.
Linda O'Neal recounts the events surrounding the 2002 disappearance of her step-granddaughter and her best friend, and shares what her private investigation has revealed about the case.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1996.
People go to nightclubs to see and be seen - to view others as aesthetic objects and to present themselves as objects of desire. Rigakos argues that this activity fuses surveillance and aesthetic consumption - it fetishizes bodies and amplifies social capital, producing violence and crises fuelled by alcohol. At closing time, patrons flow out of the insular haze of the nightclub and onto city streets, moving from private spectacle to public nuisance. Bouncers are thus both policing agents in the nighttime economy and the gatekeepers of an urban risk market - a site of circumscribed transgression and consumption that begins at the nightclub door.