Examines the effects of television culture on how we conduct our public affairs and how "entertainment values" corrupt the way we think.

What happens when media and politics become forms of entertainment? As our world begins to look more and more like Orwell's 1984, Neil's Postman's essential guide to the modern media is more relevant than ever. "It's unlikely that Trump has ever read Amusing Ourselves to Death, but his ascent would not have surprised Postman.” -CNN Originally published in 1985, Neil Postman’s groundbreaking polemic about the corrosive effects of television on our politics and public discourse has been hailed as a twenty-first-century book published in the twentieth century. Now, with television joined by more sophisticated electronic media—from the Internet to cell phones to DVDs—it has taken on even greater significance. Amusing Ourselves to Death is a prophetic look at what happens when politics, journalism, education, and even religion become subject to the demands of entertainment. It is also a blueprint for regaining control of our media, so that they can serve our highest goals. “A brilliant, powerful, and important book. This is an indictment that Postman has laid down and, so far as I can see, an irrefutable one.” –Jonathan Yardley, The Washington Post Book World

This volume documents the 19th edition of the biannual "International Association for the Study of Popular Music". In focus of the conference were present and future developments. For example, the diminishing income potential for musicians as well as the recording industry as a whole, concurrent with the decreasing relevance of popular music in youth culture. This is where computer games and social media come to the forefront. At the same time, the research of popular music has emancipated itself from its initial outsider.

Beyond its elucidation and critique of traditional ‘notation-centric’ musicology, this book's primary emphasis is on the negotiation and construction of meaning within the extended musical multimedia works of the classic British group Pink Floyd. Encompassing the concept albums that the group released from 1973 to 1983, during Roger Waters’ final period with the band, chapters are devoted to Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979) and The Final Cut (1983), along with Waters’ third solo album Amused to Death (1993). This book's analysis of album covers, lyrics, music and film makes use of techniques of literary and film criticism, while employing the combined lenses of musical hermeneutics and discourse analysis, so as to illustrate how sonic and musical information contribute to listeners’ interpretations of the discerning messages of these monumental musical artifacts. Ultimately, it demonstrates how their words, sounds, and images work together in order to communicate one fundamental concern, which—to paraphrase the music journalist Karl Dallas—is to affirm human values against everything in life that should conspire against them.

‘Liner Notes is, unsurprisingly, as good as its author’s songs, with moments of sharp humor alternating with real-life pain, and vivid reflections on love, death, and the whole damn thing. Loudon Wainwright is a true original: not like anyone else, just as he set out to be.’ Salman Rushdie In the late 1960s, Loudon Wainwright III established himself as a loner, deliberately standing outside the conventional. He recorded his first album in 1969, full of raw, angry poetry, but it was the 1972 novelty song ‘Dead Skunk’ that brought him popular recognition. Wainwright’s songs are as hilarious as they can be painful. In Liner Notes, he details the family history and fractured relationships that have informed him: the alcoholism, infidelities and competitiveness; the successes, joys and love. Wainwright writes poignantly about being a son, a parent, a brother and a grandfather while re-printing selections from his father’s columns and meditating upon family, inspiration and art. As plain-speaking on the page as in his songs, Wainwright lays everything bare in this heartfelt memoir of music and family. His lyrics adorn and inform the text, amplifying his prose and connecting his songs to the life he led. ‘He is unafraid and clear-eyed about the events of his life – and utterly engaging.’ Rosanne Cash ’Fans of the self-lacerating, painfully funny Wainwright III will find the memoir they want here’ Kirkus Reviews

In the latest suspense thriller in the #1 New York Times bestselling series, the year 2060 is drawing to a close in New York City and loved ones are coming together for Thanksgiving. But sometimes the deepest hatreds seethe within the closest relationships, and blood flows faster than water… Lieutenant Eve Dallas has plenty to be grateful for this season. Hosting Roarke’s big Irish family for the holiday may be challenging, but it’s a joyful improvement on her own dark childhood. Other couples aren’t as lucky as Eve and Roarke. The Reinholds, for example, are lying in their home stabbed and bludgeoned almost beyond recognition. Those who knew them are stunned—and heartbroken by the evidence that they were murdered by their own son. Twenty-six-year-old Jerry hadn’t made a great impression on the bosses who fired him or the girlfriend who dumped him—but they didn’t think he was capable of this. Turns out Jerry is not only capable of brutality but taking a liking to it. With the money he’s stolen from his parents and a long list of grievances, he intends to finally make his mark on the world. Eve and her team already know the who, how, and why of this murder. What they need to pinpoint is where Jerry’s going to strike next.

(Recorded Version (Guitar)). Note-for-note transcriptions with tab for all nine tracks from Zappa's classic 1975 release: Andy * Can't Afford No Shoes * Evelyn, A Modified Dog * Florentine Pogen * Inca Roads * Po-Jama People * San Ber'dino * Sofa No. 1 * Sofa No. 2. Includes an introduction by Steve Vai.