Headhunters are third-party agents paid a fee by companies for locating job candidates perform a unique sales role. The product they sell is people, matching candidates with jobs and companies with candidates. Headhunters affect the professional lives of thousands of employees every day, and their work has a profound, though hidden, effect on the employment picture in the United States. William Finlay and James E. Coverdill draw on interviews with and observations of headhunters and on analysis of headhunting training seminars, lectures, industry newsletters, and a mail survey of headhunting firms. The result is a frank and sometimes unsettling portrait of the aims, attitudes, and tactics of practitioners. The payment of fees has shifted from candidates to employers, and recruiters now find people to fit jobs rather than the other way around. Finlay and Coverdill address what they feel is a serious lack of research about the work headhunters do and how they do it. Their book is built around three major questions: What advantages do employers derive from using third-party agents to handle candidate search and recruitment? How are headhunters able to accomplish the double sale ('selling' candidates to employers and employers to candidates)? What criteria do headhunters use for selecting candidates? In the process, Finlay and Coverdill link their findings to larger issues of institutional and historical context, revealing the economic and political reasons clients use headhunters, demonstrating how headhunters manipulate clients and candidates, and assessing the impact of headhunters' actions on hiring decisions.

Brennan, a critically acclaimed author, has collected the stories of his fellow Headhunters--the men who fought with Vietnam's first helicopter reconnaissance squadron. They recall the war in their own words, providing oral history at its most exciting and most unforgettable.

This is the story of one of the most influential and controversial jazz recordings of the twentieth century. Head Hunters captures a transitional moment in music history, a time when jazz and rock combined to create a whole new, often controversial, genre. Symbolizing that genre was Herbie Hancock's 1973 album Head Hunters, this was hancock's foray into the fusion jazz market, the first jazz album to go platinum, and the best-selling jazz album of all time to that point. The album became a flash point for a major shift, in both the production and reception of jazz; the sales numbers were unprecedented, and the music industry quickly responded to the expanded market, with production and promotion budgets rising tenfold. Such a radical shift helped musicians pry open the door to the control booth, permanently enlarging their role in production.

Head Hunters of the Amazon is one of the greatest adventure books of all time. In 1894 the author, just out of a New York college, took off for the headwaters of the Amazon. For seven years he survived piranhas, army ants, vampire bats, electric eels, murdous pirates, giant whirpools, 30-foot anacondas, sand crabs, parasites, and -- of course -- headhunters. Book jacket.

Photographer Edward Curtis's 1914 orchestrally scored melodrama In the Land of the Head Hunters was one of the first US films to feature an Indigenous cast. This landmark of early silent cinema was an intercultural product of Curtis's collaboration with the Kwakwa̱ka̱'wakw of British Columbia--meant, like Curtis's photographs, to document a supposedly vanishing race. But as this collection shows, the epic film is not simply an artifact of colonialist nostalgia. In recognition of the film's centennial, and the release of a restored version, Return to the Land of the Head Hunters brings together leading anthropologists, Native American authorities, artists, musicians, literary scholars, and film historians to reassess the film and its legacy. The volume offers unique Kwakwa̱ka̱'wakw perspectives on the film, accounts of its production and subsequent circulation, and evaluations of its depictions of cultural practice. Resituated within film history and informed by a legacy of Kwakwa̱ka̱'wakw participation and response, the movie offers dynamic evidence of ongoing cultural survival and transformation under shared conditions of modernity.

The author describes his experiences living among the Iban, and recounts his attempts to understand their culture.