Bøger udgivet af YBK Publishers

"Containing ample quotes from his reviews, the book details performances and performers; most of them world-famous; others obscure but deserving of greater fame. Some, the author admires deeply; a few, not so much. These are not just verbal descriptions. Epstein provides URLs of videos and audio recordings that enable you to click along to see and hear what he saw and heard. Going back in real time to as far as his elementary school days and the pop music of that era, he even tells you about that period in time-about Captain Video and Captain Kangaroo on TV and about Tarzan serials at Saturday morning movie-theater kiddie shows"--

"Artificial Intelligence (Google's Bard) writes a debut novella"--

"Complete dialog between Google's Bard AI robot (bot) and the publisher that took place during Bard's writing of the novella The Fake Hitman"--

Half the range of the piano keyboard! At last a serious critical examination of the utterly unique vocalist celebrated for her "four-octave voice," Yma Sumac! A confounding, sometimes heartbreaking, mixture of absurd show-biz hype, stunning virtuosity, and sometimes ravishing artistry, Yma Sumac was a firmly established recording artist of the folk music of her native Peru when she came to America to be "discovered." And discovered she was-by the publicity department of Capitol Records and the "Exotica" pop music maestro Les Baxter. From there her story becomes ever more tangled and weird-and deeply interesting. Yma herself is an amazingly contradictory mix. Nicholas Limansky (a formally trained professional singer) is able to demonstrate that she was startlingly sophisticated technically even though almost entirely self-taught. What is perhaps even more astonishing than the celebrated 4-octave range of her voice-and its effortless clarity and sweetness-was the nearly incredible longevity-fully 4 decades!-of her ability to command it. With the enthusiastic collaboration of her quixotic, charming, slightly rascally husband, she went along with the corruption of her artistic identity by the gleefully amoral record-company publicists, creators of her public persona-Inca Princess (sometimes Priestess!)-from a primitive mountain tribe (or, sometimes, descended from a line of kings that was said to go back several hundred years before there were any Incas)! Imperious as any diva with her intimates and musical collaborators, she maintained an unassailable dignity and unaffected graciousness as a performer and in relation to her fans. All documented in this large, lavishly illustrated volume-an extensively researched biography (her birth date established once and for all!), many personal anecdotes of her intimates, technical discussions of her voice and her music, generous excerpts from reviews and priceless examples of publicity material. About the author: Nicholas E. Limansky studied voice at Peabody Conservatory in Baltimore and has a performance degree from the University of West Virginia. He has sung with The Bach Aria Group, Musica Sacra, New York Choral Artists (of the New York Philharmonic), and the Opera Orchestra of New York. He reviews new vocal releases of historical singers for Opera News, The Record Collector, Classical Singer and Opera Quarterly. His vocal specialty is the acuto-sfogato (extended-vocal-range) soprano. His work on Yma Sumac has covered nearly three decades.

Everybody talks about the plight of illegal immigrants in the US, but who gives us their own voices, tells us of the daily lives, of these shadow workers? Estamos Aquí-We Are Here-a heartstirring collection of poems written by migrant workers, speaks of joy and heartbreak in the direct voices of Mexican and Central American migrant farmworkers. Presented in both Spanish and English, these poems ultimately succeed in humanizing them, revealing them as our neighbors. In workshops after a day's backbreaking, sunbaked labor at migrant camps in upstate New York sponsored by the GENESEO Migrant Center, and led by renowned Beat poet Janine Pommy Vega, here came poems of home, of crossing borders, of the joys and agonies of work. Until now, there's really been no way to tap into the inner worlds of the Latino pickers of the produce that feeds the majority of our populace, while their small earnings return to their families back home. Now, with Estamos Aquí, we realize that we are in this together, a relationship to evolve, not a problem to solve. The fourth book in the Bowery Books Poetry Series, Estamos Aquí is a must for those studying illegal immigrant farmworkers, interested in contemporary Spanish-English poetry translations, having an awareness of the relationship of outsider arts, arts education, and the political intricacies of US immigration policy. Available now and everywhere.

One plus One consists of 14 solo pieces (Part I) with optional accompaniments (Part II). Each piece is based on a different scale or mode. The solo pieces can be played independently or with the accompaniment, which can be played on the same keyboard. Part I (solo) appears on either the right- or left-hand page, depending on how the players are to be seated at one keyboard. The accompaniments can be played by the teacher or by another student. Some players may also enjoy working with a cassette recorder: the teacher or student can record Part II so that the other player can play Part I with the recording. These pieces are suitable for students of different ages and at different levels of advancement. Notes provide suggestions for practice, background material on the scales and modes on which the pieces are based and ideas for creative activities. A table of scales and modes appears at the end of the book.

From the book's preface: Skya rgya is a farming village in A mdo, [Tibet] While Tibetans largely welcome the material benefits that have been brought to them by the march of modernity, it is also inevitable that many of their older traditions have come to be seen as outdated. By juxtaposing voices from earlier periods with those that reflect contemporary experiences, [the author] has provided us with a fascinating window onto the processes of change and development, as they are being experienced by Tibetans in this area. [The author's narratives give] us a direct and vivid insight into the lives, experiences and expectations of members of his home community. Fernanda Pirie The Centre for Socio-Legal Studies, Oxford University Also from the book's preface: Blo brtan rdo rje's honest rendering of the details of his family life . . . make this a page-turning account of life in a rural Tibetan area that is already vanishing. When Blo brtan rdo rje was young, there was not even a bridge to cross the Yellow River into Gcan tsha County. . . .After bridges were built in the late 1980s, life has been changing rapidly This is not to suggest that no change had come to this Tibetan village before this time, as the arrival of the troops of the Muslim warlord, Ma Bufang, prior to the Communist period are also documented here. The forced conversion of neighboring (down-valley) Tibetans to Islam was a crucial vehicle for the later commercial changes introduced in the 1990s. . . . this new book could serve as an important part of courses on Tibetan culture, cross-cultural studies of marriage and gender relations. I congratulate Blo brtan rdo rje and Kevin Stuart on this impressive contribution to Tibetan studies! Gray Tuttle Department of East Asia Languages and Cultures Columbia University From the author's introduction: I was born in 1979, the only son of a ten-people farming-herding family on [4.3 acres] of farmland on which we cultivate wheat, barley, peas, rapeseed, potatoes and a few vegetables for self-consumption. In 1985 my father (Rin chen bsod nams, b. 1954) put me on one of our several donkeys and the two of us set out for my paternal grandmother's (Phag mo sgrol ma, b. 1927) home in the mountains. . . .It took us most of the day to reach Grandmother's home, which was a single room where she lived, a long second room for the sheep and goats and a fenced area for the yaks. The area around Grandmother's cottage was mountainous. . . . There was no electricity. Rapeseed-oil lamps provided light at nights. Grandmother fetched water in a wooden bucket that she carried on her back from a transparent stream. . . . Bread with milk tea was our breakfast and lunch. We ate noodles with, sometimes, a few chunks of pork but rarely vegetables. I have three sisters. My elder sister . . . has twin, six year old sons who had not started school in 2006. . . . My two younger sisters are both university students and their school tuition has become a significant worry for my family. My parents have now moved to the local county town where they bought a cheap house with a small yard with the money they earned from selling our family's sheep and goats. Mother raises four milk mdzo mo (a female yak-cow cross) from which she earns an average of twenty-five yuan (about $3.50) per day by selling milk and yogurt in the street. Father does whatever temporary work he can find. . .that pays fifteen to twenty yuan per day ($2.15 to $2.86). . . .Kids from richer families call my mother 'Skya rgya Beggar' when they see her selling milk and yogurt in the bustling streets. This humiliates and causes much pain.

Fear of the apocalypse that never comes holds a Jehovah's Witness member power-bound. Armageddon is always around the corner. This is a complete history and ideology of the Watch Tower Society that keeps a keen focus on the Day of Judgment.

Inspired by the tranquil view waiting to be transferred tocanvas in Constable's English countryside, a new curiositydisturbed the painter's concentration. How did America,escaping her burdened beginnings, come to adapt Europe'sartistic superiority to her own first great school oflandscape painting?Landscape Painting Comes to America, written by a painter,details the development of landscape painting fromblank canvas to exhibition, documenting its long struggleto become a genre unto itself while relating that developmentto its historic migration across an ocean.