Other books that might interest you

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  Crime Classics: Blackbeards 14th...

  Elliott Lewis

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  A famous pirate gets his. The year is 1714 and the place is the Caribbean.

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  Storytime in India - Wedding...

  Helen Priscilla Myers, Umesh...

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  An American ethnomusicologist and her Indian collaborator recount their experiences researching Bhojpuri wedding songs in India. 
   
  Stories are the backbone of ethnographic research. During fieldwork, subjects describe their lives through stories. Afterward ethnographers come home from their journeys with stories of their own about their experiences in the field. 
   
  Storytime in India is an exploration of the stories that come out of ethnographic fieldwork. Helen Priscilla Myers and Umesh Chandra Pandey examine the ways in which their research collecting Bhojpuri wedding songs became interwoven with the stories of their lives, their work together, and their shared experience reading The Eustace Diamonds by Anthony Trollope. Moving through these intertwined stories, the reader learns about the complete Bhojpuri wedding tradition through songs sung by Gangajali and access to the original song recordings and their translations. In the interludes, Pandey reads and interprets The Eustace Diamonds, confronting the reader with the ever-present influence of colonialism, both in India and in ethnographic fieldwork. Interwoven throughout are stories of the everyday, highlighting the ups and downs of the ethnographic experience. 
   
  Storytime in India combines the style of the Victorian novel with the structure of traditional Indian village tales, in which stories are told within stories. This book questions how we can and should present ethnography as well as what we really learn in the field. As Myers and Pandey ultimately conclude, writers of scholarly books are storytellers themselves and scholarly books are a form of art, just like the traditions they study.

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  The Art of Storytelling - Easy...

  John Walsh

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  Many of us would love to hold the attention of a crowd, a classroom, or just a group of our friends by telling  them a great story. We have felt the pressure of a public presentation or the disappointment of a story that is ignored  and we are ready for more.In The Art of Storytelling, John Walsh talks through the steps to presenting  a compelling story, outlining the strategies that helped him move from stutterer to storyteller as he fulfilled his calling  of becoming a preacher. This book will help any person with a story to share, as it talks through all aspects of presentation,  from what to do with your hands as you speak, to crafting a killer ending. It is especially relevant those who teach  through the stories of the Bible or who would like to do so.

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  The Hole in the Top of the World

  Fay Weldon

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  Walter Matthau stars in the story of a climate scientist trying to balance romance and research. The piece is both serious and surreal as Matthau removes the “fourth wall” while addressing the show’s recording engineer. An L.A. Theatre Works full-cast performance featuring Barbara Bain, Zeljko Ivanek and Valerie Landsburg.Directed by Shaun McLoughlin. Recorded before a live audience in Santa Monica, CA in June, 1992.

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  Boston Blackie

  Jack Boyle

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  As originally created by author Jack Boyle, Boston Blackie was a safecracker—a hardened criminal who had served time in a California prison. Prowling the underworld as a detective, Boston Blackie was ""an enemy to those who make him an enemy, friend to those who have no friend.""
  
  This collection contains episodes of Boston Blackie that premiered between 1945 and 1946.

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  You'll Know When You Get There -...

  Bob Gluck

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  As the 1960s ended, Herbie Hancock embarked on a grand creative experiment. Having just been dismissed from the celebrated Miles Davis Quintet, he set out on the road, playing with his first touring group as a leader until he eventually formed what would become a revolutionary band. Taking the Swahili name Mwandishi, the group would go on to play some of the most innovative music of the 1970s, fusing an assortment of musical genres, American and African cultures, and acoustic and electronic sounds into groundbreaking experiments that helped shape the American popular music that followed. In You’ll Know When You Get There, Bob Gluck offers the first comprehensive study of this influential group, mapping the musical, technological, political, and cultural changes that they not only lived in but also effected.   Beginning with Hancock’s formative years as a sideman in bebop and hard bop ensembles, his work with Miles Davis, and the early recordings under his own name, Gluck uncovers the many ingredients that would come to form the Mwandishi sound. He offers an extensive series of interviews with Hancock and other band members, the producer and engineer who worked with them, and a catalog of well-known musicians who were profoundly influenced by the group. Paying close attention to the Mwandishi band’s repertoire, he analyzes a wide array of recordings—many little known—and examines the group’s instrumentation, their pioneering use of electronics, and their transformation of the studio into a compositional tool. From protofunk rhythms to synthesizers to the reclamation of African identities, Gluck tells the story of a highly peculiar and thrillingly unpredictable band that became a hallmark of American genius.

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