This book is an excellent explanation of the case for Brushy Bill Roberts as Billy the Kid. The authors do a good job of seperating fact from fiction and using all available information to dig to the bottom of Brushy Bill's identity. Before I traveled to Hico, Texas and purchased this book, I didn't beleive the claim of Brushy Bill. Even though I am still not %100 convinced about Brushy Bill, I believe the evidence is heavily on his side. It seems to me that the authors and supporters of Brushy Bill as Billy The Kid have been tormented and shunned by the supporters of Pat Garrett and the New Mexico travel industry. Through all of this torment, the supporters of Brushy Bill have stood firm. You should decide who is on the right side of this battle for yourself. You dont even have to go to Hico, Texas to get it like I did.

BRUSHY BILL DID NOT SEEK ATTENTION TO HIS REAL IDENITY, HE TRIED TO HIDE IT ALL HIS LIFE, ONCE BILL MORRISON CONFRONTED HIM HE ACKNOWLEDGED WHO HE WAS...HE KNEW TO MUCH ABOUT LINCOLN COUNTY WAR TO HAVE NOT BEEN THERE. HIS GENEALOGY HAS ESTABLISHED ALL OF THE SURNAMES HE USED AND ANYBODY THAT HAS READ THIS BOOK AND THE 4 BOOKS WRITTEN ABOUT HIM WOULD HAVE TO CONCLUDE THAT HE WAS THE KID. I HAVE READ ALL 5 BOOKS THAT I KNOW OF THAT DEAL WITH BRUSHY BILL AND AFTER READING THE FIRST 4, THAN READING THE RETURN OF THE OUTLAW BILLY THE KID I'M MORE CONVINCED THAN EVER OF WHO HE WAS. TRADITIONAL HISTORY SHOULD BE RE-WRITTEN. POLITICS & MONEY DEMAND THAT THE TRUTH NOT BE KNOWN. LINCOLN NEW MEXICO'S BIGGEST MONEY MAKER IS THE BILLY THE KID LEGEND AND, IF THE TRUTH WERE KNOWN THEY WOULD NO LONGER HAVE THE TOURIST FLOCKING TO LINCOLN. W.C. JAMESON & FREDERIC BEAN DID AN EXCELLENT JOB OF PICKING UP WHERE THR OTHER AUTHORS LEFT OFF.

At last, some solid science has been applied to the controversy regarding who was killed by Pat Garrett. William Henry "Bushy Bill" Roberts was Billy the Kid, as shown by the computer comparisons of faces conducted by the University of Texas, making them a statistical "match". This is a noteworthy continuation of the work by Harvard Ph.D. Charles L. Sonnichsen who wrote Alias Billy the Kid in 1955, showing Roberts could quite possibly be the Kid. Now computer science has answered the long-debated question. Garrett shot the wrong man. All these years people have relied on the doubtful word of Ash Upson and his fanciful tale of a Robin Hood-type figure, with no facts to support any of his claims regarding the Kid. This is a compelling book filled with facts and statistically valid comparisons of the two images. Only the die-hards now believe the Kid is buried at Fort Sumner. He lies in a pauper's grave in Hamilton County, Texas, having died peacefully of a heart attack in 1950. Garrett, and his ghost writer Upson, were both frauds, and modern science has given us undeniable proof. A great read for those with an open mind!!

I believe some of the things she said are too extreme. How can a piano teacher ever say that slow practic is no use?! Gee! Without slow practice, one cannot even find the keys right. Even world-renowned pianists practice slowly to start with. The only difference is that more talented players manage to spend considerably less time playing slow before they play fast. But they would never skip it.

THe book only contains anaysis of 4 etudes, instead of 24. And they are not the etudes one would attempt to play when first playing the etudes. THey are the more difficult ones. So consider twice before you buy it. THe 4 etudes are No. 7 in the first set (muscially this is not ond of the most thrilling ones), No. 10 to 12 in the second set. No. 10 is the octaves etude. Technically it is one of the most difficult, but musically I abhor this etude and can never bear to hear this piece from the beginning to the end. No. 11 is the winter wind one, one of the most exciting etudes ann technically probably the most difficult one to play in the entire set. No. 12 is the occean etude, I don't think her analysis is very brilliant on this one.

I'm a concert pianist. I've played all over the world. I had already won several important competitions when I came in contact with Indispensibles. It revolutionized my approach to practice, learning, teaching and the effects were evident in my playing immediately. (A month after reading it and applying it, I went to London and won my most important competition. I'd never had such confidence that my music making was right and natural).
As other reviewers have mentioned, she's verbose (too excited about her subject) and her ideas are radical. Like all evangelists for a new cause, she had to overstate her case in many respects. (There certainly is a place for slow practice, deciding fingering is not always evil, etc.)But, her most important, basic contribution (ongoing rhythm, how that is felt in the body first, smaller levels become extensions of the rhythmic impulse, and how this can be tied in to practice and learning music)is truly genius. The movement of the music through time is the basis. Always practice that movement and internalize it. What good is playing all the notes of that vision and movement is killed in the process of learning? Whiteside helps you keep your eye on the goal and strengthen your concept of that goal in each practice session.
(One word of caution; students I've heard who only use doctrinaire Whiteside approach generally have wonderful sweep in their playing, but often lack definition technically. With that in mind, don't bar yourself from the huge benefits of Whiteside's thinking!)

I would like to urge all pianists with a serious interest in piano technique to read this book CAREFULLY and SLOWLY. It is not "light reading" but it will, with patience, reveal amazing things about playing the piano. Try following Ms. Whiteside's recipes as literally as possible and you will find that they work. I agree with some of the other reviews that her style is less felicitous than it might be, but give the lady a break! She is attempting to describe in words some very complex physical sensations. I first read this book in the summer of 1998 and have returned to it again and again for the details and the inspiration it consistantly provides.

This is an extremely important book whose central thesis is that people prefer to be controlled by forces they cannot directly observe rather than by forces they can directly observe. When someone makes you do something, you feel controlled and are likely to rebel. If you are controlled by things that don't seem to be controlling you, though, like your education or the norms of your society, then you don't feel coerced and do not rebel. His point, however, is that you are still being controlled even if you don't see the hand of the person controlling you.

Although most people are horrified by Skinner's assertion that they are being controlled by forces they don't know about, Skinner himself did not mean the book to be pessimistic. Instead, he hoped that by alerting people to what controls them that they would be able to examine those controls and change them through a science of behavior.

Anyone who accuses B. F. Skinner of championing a mechanistic, stimulus-response psychology needs to read this book! In it, Skinner takes the reader on an exercise in looking at the world and our place in it through the lenses of personal learning history and the cultural context influencing what is important (primarily Euro-American---but one can only handle so many things at once.) Although, as other reviews have written, some of the terms and circumstances date the book, the themes contained within remain valid.

This book, like everything else produced during the era, has that '70s aura of doom and gloom about it, but that's no reason to get twisted in the details like the previous reviewer. Skinner points out what's been right in front of our noses all along--always a sign of true brilliance.

The world abounds with examples that prove his main point: that humans are not strictly 'free', nor can we ever be. We can chose to accept the obvious and exert some conscious control over the 'contingencies' of our behavior, or we can continue to stick our head in the sand and refuse to believe that we are subject to many of the same rules of design as other animals...well-trodden ground previously occupied by critics of Darwin, most notably.

This book is great for an overview of percussion instruments around the world. The history of these percussion instruments is show through facts and folklore. The massive amounts of photographs in this book help with the indentification of the many, many instruments. This book is great if you want a brief overview of the history of percussion, but if you want something that is a little deeper than that I would find another book. This book is rather simple and relies on the pictures to do most of the work. Still, this is a cool book.

A celebration of Percussion & Rhythm. Origin Stories & original paintings of drummers, singers, dancers, clappers & all manner of rhythmic instruments from the four corners of the world & distant times, illuminate this passionate, enchanting tour. There is a tape that accompanies the reading of this lovely book.

Mickey Hart goes into a global exploration of percusion instruments in this particular book. The interplay between sound and mysticism is explored, with lavish photographs and numerous quotations to boot. Although this book isn't much on words, theres a lot of good stuff in here. Breaking it down into various regions, Hart shows some wonderful examples of musical instruments used in Africa, Oceania, Asia, the Middle East, Europe and the Americas. Aside from more familar instruments (bullroarers, clap sticks and various drums), he also gives examples of exotic instruments like the shekere, mbira, shawm, skull drums and gamelan orchestras. In addition, he explores numerous non-western cultures, such as the Rashaida, Ethiopians, Tutsis, Nepalis and Ojibwa. Aside from this are little side-bars on various related subjects such as Shamanism, Capoeira, Carnival, drums and warfare and the "dance of the dead". Theres even a whole list of names various cultures around the world have for the bullroarer, which is considered sacred in cultures as far away as the Australian aborigines and the Apache of North America. And, of course, it explores the process of sound, from the big bang to the end of time itself, complete with a lot of cultural notes and tidbits that are great to know. For instance, did you know tht Ethiopian soldiers used to be accompanied by trumpters and drummers who symbolized the drummers who will herald the Apocalypse? Or that in some parts of the world drums really were used to communicate? Or that early Christians were summoned to church with a "sound board" instead of a bell? All of these small little notes, and many other historical facts and curiousities are contained within this book. And, finally, there are also a handful of illustrated myths and legends retold in the book. These include a Sioux legend of the origin of the powow drum and a Koori story about how the bull-roarer came to earth, as well as a grisly tale of what the Inca did to captured foes (made them into drums) and a Siberian tale of creation.
This is really an amazing book. Those with an interest in anthropology, music or shamanism should take a brief look at this book. Heck, everyone should. It may not be a lot of reading, but it is wonderful to flip through and learn about the history of sound, mysticism and the pulse of the world itself. Just buy it and you'll see what I mean.

As much as I loved eating at Pepe's, this book is really fluff, but it is very light reading and you will enjoy her story. You will appreciate it even more if you have been to Barrow and especially if you get to meet Joe the Water Man.

Fran Tate has lived a truly amazing and interesting life. This book tells her story in detail, and what a story it is! Fran is a true character, and a really neat lady (I know her) who has worked very hard to build sucessful businesses and provide service to her adopted community. Barrow is a special and different place and Fran fits in well here. Her story is a good example of how hard work, creativity and sheer guts can get you where you want to go. It is also very funny! How can you resist someone who runs a business like Elephant Pot Sewage Haulers (before the town got sewers everyone had holding tanks or "honey buckets" and someone had to "clean up your act" as the slogan went) and sells the T-shirts in her restaurant to boot? Not only that, she does a great jazz show on the local radio station and sponsors (& shoots, with her attorney/pyrotechnician) the New Year's fireworks.

Pepe's North of the Border is a true Barrow experience, and really, the food isn't bad (I've had far worse in the Lower 48). There's always free pie & coffee to local seniors. The cooks are Mexican, too--Fran even wound up marrying one once at least in part to avoid his being deported. If all this sounds interesting, get the book!

I have read Fran's book before but I don't own a copy. I lived in Barrow for 3 years so I know first hand about that which Fran writes. However, as I was the district librarian for the school district my life wasn't quite as hard as Fran's. The food at Fran's probably wouldn't be eaten anywhere else, certainly not in the "Lower 48" and certainly not for the price one had to pay.
Getting back to Fran, she tells it like it is, and she is the very colorful, local figure that she portrays. For those unfortunate souls who have never been to Alaska, let alone Barrow, this book is interesting and full of some strange but true stories.
This book is for people who love to read about people who are "different" and who are probably braver and more interesting than the rest of us.

This ponderous mix of the philosophy of art, science, and politics leaves you with a headache and the irrelevant conclusion: "Let us wage war on totality; let us be witnesses to the unpresentable; let us activate the differences and save the honor of the name." Huh? This conclusion has as much practical value as the entire book.

Lyotard seems to think that scientific validity is something similar to government legitimacy, and is thus based on doctrines, dogmas, and the degree to which people subscribe to them. He thinks such validity can be created and undone with what he calls "language games." Economically advanced societies are under what he believes to be the language game of "performativity" which, in common sense terms, means the desire to be efficient. Lyotard theorizes and philosophizes in such general terms that his postmodernism bears striking resemblance to the "totality" and holistic perspective on which he would wage war. No, Mr. Lyotard, all scientific theories are not created equal, not equally valid. And this postmodern masterpiece seems less relevant every day.

This book is a classic that anyone attempting to understand postmoderism must read. Beware! This book is not for the faint of heart as some may find the language inaccessible and somewhat unapproachable. Those who aspire to understand topics such as critical race theory, post-structuralism, critical pedagogy, feminist theory, lat-crit theory, critical race feminism and other theoretical issues of diversity should come to understand postmodernism through the lens of this author and scholar.

No one can deny that the 20th century has been one of wars and legitimation. Theorists from all discplines were engaged in a rush to explain and legitimate first modernism and then the collapse theoreof at the hands of the new wave of thinkers in the second half of the century. Lyotard's work is ground-breaking in the sense it reduces post-modernism to a state of collapse; the destruction of grand-narratives. He fails, however, in defending his conception of what replaced those grand-narratives. The notion of grand-narratives itself is extremely suspect and implies the complete replacement of universalised notions with localised discursive practices. Lyotard's language games, very Wittgensteinan in source, were set back by his dependance on the theory of speech acts rather than the rich insights of criticl linguistics. The notions advanced in this book are very interesting but the definition of localised language games left a lot to be desired. Maybe Foucault was correct in refusing to tie his conception of discourse and discursive practices to one theory of lingusitic analysis. Lyotard should have done the same.

I've not read any others in the "great philosophers" series but I have read a few of the "x in 90 minutes" and " on x" series (very similar in that they run about 70 pages each and are meant to serve as brief layperson's overviews). From what I know of this type of book, this one is quite badley done.

As a long time fan of Popper, I sympathize with how Mr. Raphael must have felt in attempting this project. Karl Raimond Popper was a thinker whose ideas lead him from and to many topics. From ontological speculation (realism) to epistemology (critical rationalism) to the progress of science (conjecture and refutation) to ethics (a very bizarre and unfortunately not so discript pragmatic liberal humanism) to politics (democracy with again, not so discript piecemeal engineering). If you read his autobiography "An Unended Quest", he even has a philosophy of music!

For all that, Mr. Raphael could have done 10 times better than he did. Out of all the ideas above, Mr. Raphael talks about only conjecture and refutation (in 10 intro pages that compares in attitude to a kid being forced to eat her brussel sprouts).

The next 49 pages are spent discussing Popper's views on the impossibility of historical prophecy. Not that these views arent important but in light of Popper's humongous contribution to the philosophies of science and epistemology (and the non-contriversial nature, at least in todays world, of Popper's anti-historicism) focusing, by in large, the whole book on it is putting pages to bad use.

What caused me, though, to give the book 2 stars (I may have given it 4 otherwise) is that the book is marketed as an introduction to the ideas of Popper for those who've either never heard of him or never read of him. Had this book been marketed as an intro specifically to his anti-historicism, it would have been much easier to swallow. As it is, the reader taking this as an apropos introduction will be infinitely misled.

Fortunately there are better introductions. Bryan Magee's "Philosophy in the Real World: An introduction to Karl Popper" is, with maybe 40 more pages than this volume, a much better, more accurate, and proportional volume written by someone who knew Popper as a teacher and friend. For the student who has more time, Geoffrey Stokes "Popper: Philosophy, Politics and the Scientific Method" is a book that examines, first, Popper's political philosophy and works backwards to reveal how his philosophy of science gets him there. The best introduction, however, is going to be Popper's own "In Search of a Better World".

Another short book from The Great Philosophers Series. Although Popper is most famous for his philosophy of science, this book dwells mostly upon his political theory. I suppose that is okay, but this approach somewhat misrepresents why Popper is an important philosopher for us today. After all, he is generally regarded as one of the greatest philosophers of science of this century. I get the feeling Raphael was not comfortable with science writing, which makes me wonder why the editors put him on this project. Don't get me wrong, the writing was accessible and informative on Popper's political theory, but it just seemed a bit misplaced, given what I take this series of books is concerned with.

This small book deals only with the political and not the scientific part of Popper's work, thus mainly with 'The open society and its enemies' and 'The poverty of historicism'.
It is an excellent introduction for this part of Popper's work.
The author clearly explains that improvement or self-correction through freedom of speech (criticism) is only possible in democracies and not in dictatorial (fascist) or pseudo-scientific (marxist) systems of government.
For me, he correctly recognizes the possible limits of Popper's proposition of 'piecemeal engineering' of political, social or environmental problems: "Is piecemeal engineering grand enough to deal with global pollution, genocidal oppression of minorities and pandemics such as AIDS?"
He also sees clearly the actual dangers for democracies: "How are major corporations, with transnational funds and managements, to be controlled by democratic authorities whose writs run only to their frontiers?"
Also some interesting facts (rare) about Popper's personal life.
A very worth-while read.

I found it particularly interesting that Kubrick's very adult final movie was based on a short story written back in 1926. Kubrick fans know his movies are full of interesting camera angles and great characters, but underlying all his movies are a combination of temptation and agony. He was a master of titillating the senses and arousing curiousity but not quite giving you what you wanted to see. I was a little surprised, then, when his final movie seemed to leave little to the imagination.

I was surprised by the other reviews on this site that claimed the original story was overly risque. While the story was similar in concept, I found it rather tame compared to the movie. One reviewer said the main character had an infatuation with underage minors. Were we reading the same story here?

I enjoyed the movie but critics complain the movie was too focused on overt sexuality and shock value. Perhaps that's true. It's unlike his previous works which left more to interpretation of the viewer. I do agree that Kubrick attempted to solve the mysteries that were left unanswered in the story. I believe the movie would've received higher acclaim if he remained focused on the tension regarding the affairs of the heart.

One final note, as another reviewer noted, the screenplay differs from the final work. As he/she correctly pointed out, many of Kubrick's works were written "on the fly" as additional ideas and modifications to the original script were incorporated during production.

Anyone confounded by Kubrick's unsuccessful, if interesting, final film should take a look at the book on which it was based. It's one of the greatest books from this century that I've read. It is unfortunate that Kubrick could not transform it into a better movie, as maybe he could have at the height of his powers. The screenplay (or shooting script, anyway) is also included here, and after reading them both, it's easy to see why he failed. Kubrick's movie is basically a transcript of the exterior action that takes place in a book that deals mostly with the internal. Kubrick tries to illuminate the internal struggle with music, set design and mindscreen shots, and while all this adds to the unsettling atmosphere of the film, the core of the book, and the meaning of the events are lost. This is not helped by a sloppy job of updating the novel to 1990s New York. Most of Kubrick's movies (if not all) were based on novels (some great, some not so great), and one of his greatest talents was always to single out what he found to be the core of the novel, and the ability to shape it into his own vision (and in the process, infuriating some of the original writers). But in this case, Kubrick has updated the novel only superfically, and ultimately, he missed the point of the book. It's a shame, because it should have made a marvellous movie, and I feel it could have been one of his greatest achievements. Despite all this, Schnitzler's book stands on its own, and if nothing else, perhaps the movie will lead to something of a rediscovery of this masterpiece.

This is an incredible book. To read the original story, "Traumnovelle," is an enthralling experience. To think that it was written in 1926 adds to its mystique. The screenplay was worth looking at, though at times I felt it was more of a transcription than a screenplay. The narrative follows the final movie cut's directing instructions too closely, though there are some very minor deviations. I'd rather read the original script rather than a shooting script. The short story differs from the movie greatly. It a captivating read, and I can see why Stanley Kubrick spent most of his life wanting to see it on the screen. I think reading the short story gave me an appreciation of what Mr. Kubrick added to it to make it a remarkable film. The structure from the original story is vastly improved in that there is a confrontation of what the main character witnessed. In the short story, it is left up in the air as to the true nature of what he saw, with the strongest suggestion being that it was harmless debauchery of aristocrats. One aspect of the short story that was not explored (and thankfully so) in the movie was the main character's obsessive longings after extremely young women (including the young daughter of the rental costume owner). You'll have to see "American Beauty" for those scenes.

I was disappointed by this book. Its title and slight size might suggest that it deals almost exclusively with Chopin's last days and burial. Not so. Eisler's description of Chopin's funeral comprises the first nine pages of this book. Another two at the end tell of Chopin's last minutes. (She sheds no new light on either event.) In between, you will find a Reader's Digest version of Chopin's life with particular emphasis on his relationship with George Sand. The book ends when Chopin does: the aftermath of his demise, it's effects on those around him, are not discussed.

I assume the author's intent was to quickly distill the couple's relationship so that she could speculate on it's unraveling. But the pair's quirky "association" lasted for twenty-one years. So this abridgement leaves much to be desired.

If you want a brief recap of the Chopin-Sand story, or are totally unfamiliar with their singular relationship, I suppose this book wouldn't be a bad place to start. However, it's not written particularly well. The convoluted, ungainly sentences were difficult to forgive after a while. If you want a better written and more detailed book on the composer, I recommend "Chopin in Paris" by Tad Szulc.

A richly textured and artfully compressed biography filled with family violence, political passions, dependencies and pride. Eisler has created a vivid portrait of the man who was blessed with musical genius and success -- and the love for the infamous woman novelist George Sand. Chopin was revered by contemporaries such as Schumann and Liszt, and after an early success dwindled away to a very unhappy demise.

Not much new territory here, but Benita Eisler has made a contemporary biography that truly brings Chopin's life to light in a book that is both compelling and creative. A recommended read.

Benita Eisler had written a concise and powerful book about the life of Frederic Chopin, including his loves, his music and his friends. Beginning with a colorful account of Chopin's funeral, the author then begins to weave together a tormented picture of him. His many illnesses, the distance from those he loved, his constant need for funds....all describe a life of unbelievable turmoil. Eisner is able to capture the essence of Chopin brilliantly and relate it to the reader with strokes of understanding and compassion.

While Chopin's relationship with George Sand has been well-documented over the years, the author, nonetheless, gives an emotional portrayal of their lives together...and apart. It is the central part of this book, as it should be. But how many readers know the influence that Sand's children had on him....especially Solange? Chopin relied heavily on both women but it was Solange who comforted him at the composer's end.

As a pianist, I enjoyed Eisner's brief and occasional comments on Chopin's compositions. They always seemed to complement her narrative and they were never too weighty to drag down any chapter. Her writing style is often brisk but not in any way capricious. The "photo" taken of Chopin towards the end of his life says it all. A man barely five feet tall, weighing little by a body wracked with suffering....a man in this condition who could still write some of the most expansive music. Eisner secures it all...she allows the reader to have great empathy and awe for Chopin.

It's a rare occurrence that a dust jacket adds so much to the book. It's really designed to give the look and feel of a first edition classic. Eisner's "Chopin's Funeral" is a highly recommended, thoroughly enjoyable book.

This book is way to complicated. It is not very helpful to tryto find information in an easy simple manner. I would try to findanother book for anatomy and physiology!

My daughter who is taking a course in nursing likes this book.
I find this book neat and the illustrations done by Dr William
Ober clear and easy to the eyes. If you are not anybody who is
involved in the health or medical studies, and wish to know
more about the human body (anatomy and physiology), then I highly
recommend this concise "essentials" book. Take a look at page
132, Figure 6-6, you actually get to see the whole of human
skeletal system which appears as photograph, not a drawing. I
can use this page to show my children what the human skeleton
looks like and name the parts, which are clearly labelled. The
reason I have given 4 stars because I cannot say this book is
100% perfect. The authors will later improve it in their future
editions, still this is a good buy ...you won't regret.

This is a great book for anyone that needs a small (less than 700 pages) book to look up basic concepts. I bought a used copy as a low cost way to start an A&P library. Medical students may not want to use this book unless they are in their very first year and know nothing about anatomy and physiology; but anyone in the allied health field will want to keep this one handy. Anyone who is willing to immerse himself in this book will definitely acquire a good working knowledge of A & P. I found numerous chapters that were great starting points to motivate deeper study. For instance, the Chapter on Muscles is very useful. It provide views of each major muscle, along with a diagram that lists what type of motion the muscle creates, and it's origin & insertion points. Many chapters have clinical examples as well as special sections that deal with aging and it's effects on the body's systems. If you are on a tight budget, get a used copy and you won't be disappointed.