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Side B is concerned with the practical aspects of meditation; but always referring the practical back to theory. After some thoughts on breathing and posture, Alan Watts progresses to his main technique--the use of sound. In a comment made more than 30yrs. ago, he points out that the abudance of professional music has caused us to lose confidence in our melodic (spiritual) voices. He restablishes this confidence through a unique "free-form" mantra, which can be used by an individual or in a group. Finally he uses these experiments in sound to form the basis of "deep listening", effectively bringing the focus back to his starting thesis.
Mark Watts has done an excellent job of editing his father's material, seamlessly combineing segments into a coherent whole, without the use of commentary or musical intervals.
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Alan Davis provides smooth and beautiful rendering of the DCU character and its like Crisis in Infinite Earths once again! Grab this book, you won't regret it!
Alan Davis is, for lack of a more flamboyant word, great. His pencilling skills have been honed over years of work, the best being on Captain Britain, Excalibur and Clandestine. His writing skills came into play on the two latter works. He has always had a knack for displaying both humor and serious overtones, sometimes at once. This has never come more into play than on "The Nail."
This is perhaps the most enjoyable Silver Age book I've ever read, even if it was made in the Modern Age. That's because it isn't silly, it isn't campy, and it isn't one to avoid serious themes. A grand amount of DC's Pre-Crisis history is used (if you don't know what I'm talking about, I'm sure you can find a synopsis, as it's too confusing to explain here), and used well. The characterization is excellent, especially that of Hal Jordan and Hawkwoman, two characters who I've felt never had the chance to truly shine. The artwork is vivid and magical, just like his other works, and the splash pages of each of the JLA members are something to behold.
If this comic is anything, it's a deep admiration for what has come before. It's a man in love with the stuff he read as a kid, and now using it to write one last grand drama with it. If you like this, you'll like the books I listed above, and vice versa. Pick it up and see why the kingdom was lost.
What Alan Davis's goal of the Nail was to bring back the fun of the Silver Age of comics. The age where everything was simple and the characters were happy. Since Davis was raised on the heroes that appear in this book he uses them to the best of their ability. From Hal Jordan and Barry Allen still being alive to Hawkwoman having a very strong roll. A fun story with a little camp (See Villian at the end of story) and a lot of wonder. The best characters, amazing art, and a story with intrigue.
My only gripe is that it was not long enough. It felt rushed and hurried and the beginning left you more confused then needed. I would have liked a little more depth on either end of the book. But all in all a great read.
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Not to fault Mark Cunningham, after all he's British, but a lot of the artists he spends time on, have had little impact on the history of record production, at least on this side of the pond.
Ron and Russell Mael? Chris Rea? Slik? Interesting to read about, perhaps, but hardly of the same caliber as Trevor Horn, The Police, Peter Gabriel and U2.
Mainstream American artists such as Fleetwood Mac (yes, American!), Prince, Paul Simon, Billy Joel, Springsteen, Toto and The Cars are largely ignored if mentioned at all. Equally absent are prominent American producers, such as Phil Ramone, Russ Titelman, Richard Perry, Jam & Lewis, Reid & Babyface, Nile Rogers and the like.
Still, what it does discuss is interesting. There are whole chapters on The Beatles, Brian Eno and the making of "Bohemian Rhapsody." There are substantial sections devoted to The Beach Boys' "Good Vibrations," Jeff Lynne, Leiber and Stoller, Motown and Carol Kaye, Joe Meek, "Heroes," and Flood.
There are interesting discussions of the specific technologies used in producing the records. But unfortunately, beyond a certain time period in the book, just at the point where the use of technology gets really interesting in music production, the book fails to explain its influence. For example, one might assume that an Anglophilic book might wax poetic about how automated mixing changed the way records were made and how it was introduced by British mixing desk manufacturers Solid State Logic (SSL) and Neve. Not a word.
I think it would be most useful as a companion to a book that focused mostly on what was happening in the States. But as a general history of Record Production, it is somewhat weak.
I used it as a textbook for a course I teach in Record Production Techniques here at Mercy, but after one semester, I am looking for a replacement text. Perhaps the Wadhams....
Stephen B. Ward
Mecry College, White Plains, NY
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This book is not only a must-read for anyone who owns options, but it is invaluable to me in my financial planning practice. The concept of "Critical Capital" is the most common sense way to look at the timing of cashing in options that I have seen. My clients benefit by having a rational way to look at how options can best be used to reach their financial goals.
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