Talk Box supports teachers implementing the new curriculum, who are looking for fresh ideas with a focus on teaching talk skills, encouraging discussion and developing articulate children. It sets out different types of teaching involving children learning collaboratively through discussion with peers and centres on step-by-step lesson plans to develop hidden potential across the entire classroom. At the heart of the lesson plans is the ‘talk box’ - a collection of interesting objects which provide a focus for class discussion and where the activities are based on these linked ideas: • Young children need their teachers to help them make sense of the world; • The most effective medium for explaining, discussing, describing with children, is talk; • Children learn very well from one another when taught how to do so, and are a good resource for one another in the classroom; • Children may be able to talk, but they are not often aware what sort of talk can help them to get the best from their education; • Direct teaching of essential talk skills and understanding is straightforward and should be undertaken in school classrooms. The numerous lesson plans included in this book are each built around specific learning objectives for speaking and listening and cover subjects such as literacy, numeracy, science, citizenship, ICT and Computing. Each lesson includes a resources list and photocopiable worksheets and range from whole class to small group work. This book will help you teach children to engage in the educationally effective kind of discussion known as Exploratory Talk, where everyone’s viewpoint is considered, opinions are justified with reasons, and decisions are made together. This new edition includes updated curriculum links, new research findings, a home-school link section and contain additional EAL and SEN materials.

Talk Box offers teachers tried and tested ways of developing children's talk skills, and provides inspiring lesson plans and fresh, curriculum-based activities which will help children to learn collaboratively through their talk with classmates. At the heart of the activities is the 'Talk Box' - a box of ever-changing interesting objects which provide a focus for class and group discussion.

A deluxe photographic celebration of the unsung hero of guitar music—the effects pedal—featuring interviews with 100 musicians including Peter Frampton, Joe Perry, Jack White, and Courtney Barnett. Ever since the Sixties, fuzz boxes, wah-wahs, phase shifters, and a vast range of guitar effects pedals have shaped the sound of music as we know it. Stompbox: 100 Pedals of the World’s Greatest Guitarists is a photographic showcase of the actual effects pedals owned and used by Jimi Hendrix, Stevie Ray Vaughan, Frank Zappa, Alex Lifeson, Andy Summers, Eric Johnson, Adrian Belew, Joe Satriani, Steve Vai, Ed O’Brien, J Mascis, Lita Ford, Joe Perry, Thurston Moore, Lee Ranaldo, Vernon Reid, Kaki King, Nels Cline and 82 other iconic and celebrated guitarists. These exquisitely textured fine-art photographs are matched with fresh, insightful commentary and colorfulroad stories from the artists themselves, who describe how these fascinating and often devilish devices shaped their sounds and songs.

Yellow hates Red, so does Green, and no one likes Orange! Can these crayons quit arguing and learn to cooperate? Shane DeRolf's deceptively simple poem celebrates the creation of harmony through diversity. In combination with Michael Letzig's vibrant illustrations, young readers will understand that when we all work together, the results are much more colorful and interesting.

The history of the vocoder: how popular music hijacked the Pentagon's speech scrambling weapon The vocoder, invented by Bell Labs in 1928, once guarded phones from eavesdroppers during World War II; by the Vietnam War, it was repurposed as a voice-altering tool for musicians, and is now the ubiquitous voice of popular music. In How to Wreck a Nice Beach—from a mis-hearing of the vocoder-rendered phrase “how to recognize speech”—music journalist Dave Tompkins traces the history of electronic voices from Nazi research labs to Stalin’s gulags, from the 1939 World’s Fair to Hiroshima, from artificial larynges to Auto-Tune. We see the vocoder brush up against FDR, JFK, Stanley Kubrick, Stevie Wonder, Neil Young, Kraftwerk, the Cylons, Henry Kissinger, and Winston Churchill, who boomed, when vocoderized on V-E Day, “We must go off!” And now vocoder technology is a cell phone standard, allowing a digital replica of your voice to sound human. From T-Mobile to T-Pain, How to Wreck a Nice Beach is a riveting saga of technology and culture, illuminating the work of some of music’s most provocative innovators.

Dry, offbeat, and mostly profane, this debut collection of humorous nonfiction glorifies all things inappropriate and TMI. A compendia of probing essays, lists, profiles, barstool rants, queries, pedantic footnotes, play scripts, commonplace miscellany, and overly revealing memoir, How to Be Inappropriate adds up to the portrait of an artist who bumbles through life obsessed with one thing: extreme impropriety. In How to Be Inappropriate, Daniel Nester determines the boundary of acceptable behavior by completely disregarding it. As a twenty-something hipster, he looks for love with a Williamsburg abstract painter who has had her feet licked for money. As a teacher, he tries out curse words with Chinese students in ESL classes. Along the way, Nester provides a short cultural history on mooning and attempts to cast a spell on a neighbor who fails to curb his dog. He befriends exiled video game king Todd Rogers, re-imagines a conversation with NPR’s Terry Gross, and invents a robot version of Kiss bassist Gene Simmons. No matter which misadventure catches their eye in this eclectic series of essays, How to Be Inappropriate makes readers appreciate that someone else has experienced these embarrassing sides of life, so that they won’t have to.

In Feenin, Alexander Ghedi Weheliye traces R&B music’s continuing centrality in Black life since the late 1970s. Focusing on various musical production and reproduction technologies such as auto-tune and the materiality of the BlackFem singing voice, Weheliye counteracts the widespread popular and scholarly narratives of the genre’s decline and death. He shows how R&B remains a thriving venue for the expression of Black thought and life and a primary archive of the contemporary moment. Among other topics, Weheliye discusses the postdisco evolution of house music in Chicago and techno in Detroit, Prince and David Bowie in relation to appropriations of Blackness and Euro-whiteness in the 1980s, how the BlackFem voice functions as a repository of Black knowledge, the methods contemporary R&B musicians use to bring attention to Black Lives Matter, and the ways vocal distortion technologies such as the vocoder demonstrate Black music’s relevance to discussions of humanism and posthumanism. Ultimately, Feenin represents Weheliye’s capacious thinking about R&B as the site through which to consider questions of Blackness, technology, history, humanity, community, diaspora, and nationhood.