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The Blues Bag is both a songbook and an instruction book. It is, first of all, an anthology of blues songs, some of which are very well known; others have (as far as I know) never been in print before. As such, it can be used simply as a vehicle for learning new songs, and providing the words and guitar chords for songs you already know. In addition, it provides for the learning guitarist fills, introductions, and turnarounds for the songs, as well as complete instrumental breaks for the majority of the blues presented in this collection. These breaks are written out both in standard music notation and guitar tablature.
In its 114th year, Billboard remains the world's premier weekly music publication and a diverse digital, events, brand, content and data licensing platform. Billboard publishes the most trusted charts and offers unrivaled reporting about the latest music, video, gaming, media, digital and mobile entertainment issues and trends.
A comprehensive dictionary of blues lyrics invites listeners to interpret what they hear in blues songs and blues culture, including excerpts from original interviews with Dr. John, Bonnie Raitt, Hubert Sumlin, Buddy Guy, and many others.
This revised and updated definitive blues bibliography now includes 6,000-7,000 entries to cover the last decade’s writings and new figures to have emerged on the Country and modern blues to the R&B scene.
All-new collection of magical stories from slapstick comedy to Gothic horror.
Longing for more than yet another limp salad? Tired of tussling with the kids over junk food lunch kits? Sounds like you’ve got the lunch box blues. J. M. Hirsch has the fix. But it isn’t a cookbook. Because when it comes to lunch, nobody has time to break out a recipe to bang out a brown bag special. Busy people need lunch ideas. Lots of them. And those ideas need to be healthy, fast, easy, affordable, and delicious. That’s what Beating the Lunch Box Blues is—an idea book to inspire anyone daunted by the daily ordeal of packing lunch. Jammed with nearly 200 photos and more than 500 tips and meals, this book is designed to save families time, money, and their sanity. Whether you want to jazz up a grilled cheese, turn leftover steak into a DIY taco kit, or make pizza “sushi,” Hirsch has it covered. And because the best lunches often are built from the leftovers of great suppers, he has also included 30 fast and flavorful dinner recipes designed to make enough for tomorrow, too. Crazy good stuff like short ribs braised in a Rosemary-Port Sauce, Hoisin-Glazed Meatloaf, and kid-friendly classics such as Turkey Sloppy Joes and American Chop Suey. With ideas this easy and this delicious, there’s no reason to let the lunch box blues get you down.
Jazz critic for The New Yorker since 1957 and the author of some fifteen books, Whitney Balliett has spent a lifetime listening to and writing about jazz. "All first-rate criticism," he once wrote in a review, "first defines what we are confronting." He could as easily have been describing his own work. For nearly half a century, Balliett has been telling us, in his widely acclaimed pitch-perfect prose, what we are confronting when we listen to America's greatest—and perhaps only original—musical form. Collected Works: A Journal of Jazz 1954-2001 is a monumental achievement, capturing the full range and register of the jazz scene, from the very first Newport Jazz Festival to recent performances (in clubs and on CDs) by a rising generation of musicians. Here are definitive portraits of such major figures as Duke Ellington, Dizzy Gillespie, Django Reinhardt, Martha Raye, Buddy Rich, Charles Mingus, Louis Armstrong, Billie Holliday, Art Tatum, Bessie Smith, and Earl Hines—a list that barely scratches the surface. Generations of readers have learned to listen to the music with Balliett's graceful guidance. For five decades he has captured those moments during which jazz history is made. Though Balliett's knowledge is an encyclopedic treasure, he has always written as if he were listening for the first time. Since its beginnings in New Orleans at the turn of the century, jazz has been restlessly and relentlessly evolving. This is an art form based on improvising, experimenting, shapeshifting—a constant work in progress of sounds and tonal shades, from swing and Dixieland, through boogie-woogie, bebop, and hard bop, to the "new thing," free jazz, abstract jazz, and atonal jazz. Yet, in all its forms, the music is forever sustained by what Balliett calls a "secret emotional center," an "aural elixir" that "reveals itself when an improvised phrase or an entire solo or even a complete number catches you by surprise." Balliett's celebrated essays invariably capture the so-called "sound of surprise"—and then share this sound with general readers, music students, jazz lovers, and popular American culture buffs everywhere. As The Los Angeles Times Book Review has observed, "Few people can write as well about anything as Balliett writes about jazz."

Hearings

United States. Congress. Senate. Committee on Appropriations

Published: 1964

Total Pages: 1574


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A wild, “entertaining—slick and cool and savvy” novel of the sixties drug culture from the #1 bestselling author of Jurassic Park and his brother (The New York Times). The suitcase looks like a standard weekend bag. But like the man who carries it, it isn’t what it seems. Lined with tinfoil to mask the smell, it is a smuggler’s bag and will soon be filled to the brim with marijuana bricks. The smuggler is a Harvard student who has come to California to make his fortune. He hopes to score not just with his connection but with his new girlfriend, a Golden State beauty with an appetite for fine weed. When the deal goes south, she takes the fall, and a crooked FBI agent swipes half the stash. To free his girl, this pothead will have to make the deal of a lifetime. This ebook features an illustrated biography of Michael Crichton including rare images from the author’s estate.
Michael Urban chronicles the advent of blues music in Russia and explores the significance of the genre in the turbulent, postcommunist society. Russians, he explains, have taken a music originating in the "low" culture of the American South and transformed it into an object of "high" culture, fashioning a social identity that distinguishes blues adherents from both the discredited Soviet past and the vulgar consumerism associated with the country's Westernization. While adapting the idiom to their own conditions, Russia's bliuzmeny (bluesmen) have absorbed the blues ethos encoded in the music by their American forebears, using it to invert their social world, thus deriving dignity and satisfaction from those very things that give one the blues.Based on more than forty interviews with blues musicians and fans, nightclub managers, and others, Russia Gets the Blues reveals the fascinating history of blues in Russia, from the initial mimicry of British blues-rock to the recent emergence of a specifically "Russian blues." The gradual mastering of the idiom in Russia has been conditioned by the culture of the country's intelligentsia, a fact explaining why, on one hand, bliuzmeny feel compelled to proselytize on behalf of the music, to share with others this treasure of "world culture," while, on the other, they perform blues almost exclusively in English—which almost no one understands—and condemn any and all efforts to make the music commercially successful.