Caller One: "She was just the sweetest thing... there's no way she could have done all those horrible things you media people keep saying she did. Just no way." Caller Two:"Who's to say someone else didn't kill that Johnny Venture? Jasmine could have just been in the wrong place at the wrong time. How do we know for sure?" Caller Three: "If she really didn't do it, why break out of jail? Why not wait for the verdict and walk away a free woman?" These are some of the comments--not really unexpected--that Shauna J. Bogart is getting on her talk radio show after the news that a television and radio star known as Jasmine has escaped from custody. After a long career as an entertainer, Jasmine has been making an amazing comeback, but now she's just been jailed. Well, someone who wakes up and finds a dead body beside her in her hotel bed can't really complain about that. The news now is that as Jasmine and four other women prisoners are being transferred to a different jail, the police van is intercepted on the road and the women freed. Since the nationally famous Jasmine was a local girl, Shauna J's callers, all of whom claim to have known her, are quick (and thrilled) to comment. Shauna J. is thrilled, too. Anyone who works in the news business, she tells us, will admit to the same, if they're honest. Add to that the notice she's just received that tells her she's been voted into the Broadcast Legends Hall of Fame. With her lover Peter off on some annoyingly mysterious mission, Shauna decides to follow her dream - she will find Jasmine herself, and get a firsthand interview. Shauna's convinced she can get it; she's got something other news people don't have. The song, "Meet Me at the Casbah," is what has sparked Jasmine's second round of fame, and Shauna's own mother had coached Jasmine in that song, many years ago. That, the identity of the dead man, and a scam connected with the song itself all begins to come obligingly together. But the tighter the strands are tied, the more Shauna herself is in real jeopardy. As in her first, award-winning book, Joyce Krieg has the delightful Shauna take you behind the scenes of the broadcast world and beyond, spiced by the call-ins of Shauna J.'s listeners and decorated with bona fide pictures of what goes on "backstage" in local radio, in Slip Cue.

The complete package- the art and style of all types of DJ's, including Dance and Hip-Hop

Music represents one of humanity's most vivid contemplations on the nature of time itself. The ways that music can modify, intensify, and even dismantle our understanding of time's passing is at the foundation of musical experience, and is common to listeners, composers, and performers alike. The Oxford Handbook of Time in Music provides a range of compelling new scholarship that examines the making of musical time, its effects and structures. Bringing together philosophical, psychological, and socio-cultural understandings of time in music, the chapters highlight the act of 'making' not just as cultural construction but also in terms of the perceptual, cognitive underpinnings that allow us to 'make' sense of time in music. Thus, the Handbook is a unique synthesis of divergent perspectives on the nature of time in music. With its focus on contemporary music (while paying attention to some of the generative temporalities of the nineteenth century), the volume establishes the richness and complexity of so much current music-making and in the process overcomes historic demarcations between art and popular musics.

Whereas most humans spend their time trying to get things right, psycholo gists are perversely dedicated to error. Errors are extensively used to in vestigate perception, memory, and performance; some clinicians study errors like tea leaves for clues to unconscious motives; and this volume presents the work of researchers who, in an excess of perversity, actually cause people to make predictable errors in speech and action. Some reasons for this oddity are clear. Errors seem to stand at the nexus of many deep-psychological questions. The very concept of error presupposes a goal or criterion by comparison to which an error is an error; and goals bring in the foundation issues of control, motivation, and volition (Baars, 1987, 1988; Wiener, 1961). Errors serve to measure the quality of performance in learning, in expert knowledge, and in brain damage and other dysfunctional states; and by surprising us, they often call attention to phenomena we might otherwise take for granted. Errors also seem to reveal the "natural joints" in perception, language, memory, and problem solving-revealing units that may otherwise be invisible (e. g. , MacKay, 1981; Miller, 1956; Newell & Simon, 1972; Treisman & Gelade, 1980).

A “lucid, comprehensive guide” to becoming a club DJ “from beat matching to promotion to not going deaf” by the authors of Last Night a DJ Saved My Life (Rolling Stone). Bill Brewster and Frank Broughton wrote the definitive history of the DJ in Last Night a DJ Saved My Life. Now they share their extensive knowledge of the creative and technical aspects of DJing in this clear, accessible, entertaining guide for all aspiring jocks. How to DJ Right covers every aspect of DJing from establishing a music collection and a distinctive sound, to elementary record-spinning, to the complex skills of scratching, hot-mixing, and beat-juggling, as well as the unique art of creating an evening of sound that is perfectly timed, balanced, and unforgettable. Diagrams throughout make phrases, beat timing, and song structure comprehensible without a background in music theory. The authors also include recommendation lists on everything from the best (and most fun) songs to practice with, to the best sources for building a library of disks, CDs, and MP3s. For those who want to turn pro, the authors give sage advice on the vagaries of the club and music business. Enlivened by short quotes, anecdotes, and photos of famous DJs such as Grandmaster Flash and Derrick Carter, How to DJ is the definitive book for anyone who has ever considered becoming a DJ.

This book is written for the aficionados of pocket billiards, the weekly recreational & league players, the Pro-players, the action players, and even the actor players, playing players in movies or TV shows. We must also include the backbone of pocket and carom billiards. A most unlikely group of people that play pool so casually that they dont even consider themselves as players. It is just something to do while waiting for something else to happen. These billiard characters reside in the mysterious back corners of my mind. Over the last few years they kept driving me, at odd hours to, go ahead Doc, write it down, dont let our billiard knowledge just die out and fritter away. I listened. To list all these players, writers, supporters and industry suppliers that influenced me is not practical, but they were all subconsciously urging me on. Some were mere shadows of memories or ghosts flickering through the murky mental back roads. All had a part in this. God bless them all for those parts that they played.