Get Free Ebook The Other Hollywood: The Uncensored Oral History of the Porn Film Industry, by Legs McNeil Jennifer Osborne

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The Other Hollywood: The Uncensored Oral History of the Porn Film Industry, by Legs McNeil Jennifer Osborne

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About the Author

Legs McNeil is the coauthor of Please Kill Me: The Uncensored Oral History of Punk, a book widely hailed as a classic of its kind. A founder of the seminal magazine that gave punk its name, he is a former editor at Spin and Nerve, and wrote Marilyn Chambers's comeback film, Still Insatiable. He lives in Pennsylvania.

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Product details

Paperback: 620 pages

Publisher: Regan Books/Harper Collins (February 21, 2006)

Language: English

ISBN-10: 0060096608

ISBN-13: 978-0060096601

Product Dimensions:

6 x 1.3 x 9 inches

Shipping Weight: 1.8 pounds (View shipping rates and policies)

Average Customer Review:

3.9 out of 5 stars

45 customer reviews

Amazon Best Sellers Rank:

#552,151 in Books (See Top 100 in Books)

This is an oral history of the Porn industry taken from a huge number of sources. In a lot of ways it exposes our hypocrisy about pornography, the "yeah I did but I didn't inhale" sort of thing. Interesting stuff, it traces how the early "Hippie" free love culture evolved into a drug crazed, biker gang and organized crime thing. It touches on some of the high profile disasters, Shauna Grant, Savannah, Traci Lords and John Holmes but virtually ignores how the porno industry evolved into big business with large corporations dominating the industry. There's very little discussion of the shift from New York to California production. There's virtually no mention of the impact of the Internet. Well written and well worth reading though. A sequel picking up in 1985 would be nice.

I expected this book to be written in true crime book/reporting fashion and was pleased to find a candid, interview style instead. The tales, as told by those who lived them, offer multiple perspectives/considerations rather than a cut and dried "here it is, no room for deviation," set in stone story.It's a long book that's engrossing rather than arduous, most of the text has been dissected ad nauseum in previous reviews so I'll spare a rehashing of details.Lastly, set aside a few quiet hours for reading this book because once you start, you won't wanna stop. Kinda fits with the topic though, you know?

...the potential this book had and wasted. It really should be subtitled "The Uncensored Oral History of the Mob Syndicate From 1972 to 1999." The shady figures who financed pornography during this period, many of who paid the ultimate price for their "ill gotten gains," have as much if not more "screen time" in this narrative than the stars and makers of adult movies. Not that they aren't interesting. Reuben Sturman is a fascinating figure - the most profitable pornographer in the history of the world was satisfied to cultivate his own little corner in Ohio. And the story of John C. Holmes ties to the "Wonderland" killers is gripping. And when the authors aren't detailing these shenanigans, and the efforts to stifle the industry by FBI sting operations, we get generous accounts of the "recreational" activities of the stars, etc. Apparently when they weren't fornicating for the camera they were sniffing, snorting, injecting, and inhaling. Enough of that goes a long way.The authors do admit this is not a completely comprehensive look at the industry - that time and space would not allow for such. That seems reasonable. But instead of telling us about all the offscreen rutting of the actors and their cohorts, why not tell us more about the movies themselves? They do cover the big three - the cornerstones of Porno Chic, Deep Throat, Devil in Miss Jones, and Behind the Green Door, but how about the elegant erotic confections of Radley Metzger, the man who produced and directed, under the Henry Paris pseudonym, The Opening of Misty Beethoven, largely considered to this day the finest hardcore adult film ever made? How about a profile of boy wonder Bill Osco, who was a millionaire producer while still in his twenties? Or such other blue movie genuises as Alex DeRenzy or Anthony Spinelli, each of who gave a little extra to the "crotch operas" he created?The good stuff comes at the end, with the depiction of the onslaught of the AIDS epidemic and its impact on adult entertainment. Performer Tricia Devereaux offers truly touching testimony, matched by director John Stagliano who tried to assuage his grief at the loss of his girlfriend by hurling himself into the abyss of unsafe sex.The authors claim not to judge, and they don't - at least not explicitly. However, this is clearly a morality tale, no, a cautionary tale. But I imagine had they written about the law profession, academics, the medical industry, or American politics, we the readers would have come to the same conclusions about the participants and been left with the same sense of lives largely wasted.

Ridiculously fun as well as informative, this book, though gossipy at times, is essential for truly understand the triumphs and horrors of the porn world.

Fascinating and eye opening.

History book of sorts of the seedy side of Hollywood. Its an interesting read

ok

Great book and a real easy read.... Please read it!!!!

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Download PDF Acoustic and MIDI Orchestration for the Contemporary Composer

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Acoustic and MIDI Orchestration for the Contemporary Composer

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About the Author

Andrea Pejrolo is the Assistant Chair of the Contemporary Writing and Production Department at Berklee College of Music in Boston, as well as a composer, producer, music technology expert, audio engineer, and bassist. He is the author of Creative Sequencing Techniques for Music Production, Acoustic and MIDI Orchestration for the Contemporary Composer, and has written several articles for music magazines, including Sound On Sound Magazine, MacWorld, Computer Studio Magazine and Bass World Magazine. Andrea has extensive professional experience as a sound designer, audio engineer/producer, MIDI programmer, and composer for film, TV, theater, and multimedia. He is also an active presenter and lecturer for prestigious conferences such as AES and MacWorld. Richard DeRosa is a Grammy-nominated composer and a professor at the University of North Texas and the director of jazz composition and arranging. His work in jazz includes writing and conducting for the WDR Big Band in Cologne, Germany and for Wynton Marsalis and the Lincoln Center Jazz Orchestra. His work in theatre includes arrangements for A Bed and a Chair featuring the music of Stephen Sondheim, the Broadway show After Midnight, orchestrations for Frankenstein - the Musical, and multiple original scores for the national touring company ArtsPower. Compositions for television include background music cues for Another World, As the World Turns, and The Guiding Light. For film there are various documentaries broadcast on PBS, orchestrations for independent films Gray Matters, Falling For Grace, and Standard Time.

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Product details

Paperback: 400 pages

Publisher: Routledge; 2 edition (November 11, 2016)

Language: English

ISBN-10: 113880150X

ISBN-13: 978-1138801509

Product Dimensions:

7.5 x 0.9 x 8.8 inches

Shipping Weight: 1.5 pounds (View shipping rates and policies)

Average Customer Review:

4.2 out of 5 stars

22 customer reviews

Amazon Best Sellers Rank:

#324,646 in Books (See Top 100 in Books)

I am a hobbyist game composer and this book gave a lot of clear, specific advice on things I can do to make my purely digital productions sound more realistic. It also covered a lot of gaps in my knowledge as someone whose only musical education was a sixth grade band class.Why the missing star: it's bad enough when a $10 ebook was obviously OCR'd from the paper book with no subsequent copyediting. It's downright insulting when it's a $40 book. Not only are there many typos but even numbers were scanned wrong - there's a blatant example (to anyone familiar with midi) like three or four page turns into the book!

The book starts with an introduction to basic MIDI and acoustic orchestration, in that order. I will assume that Andrea Perjrolo was responsible for the MIDI portions of the book, while Richard DeRosa handled the acoustic side. The book is set up as a textbook for use in a classroom, hence the high price tag for a new copy, but is still quite accessible for an aspiring home studio musician/composer/arranger/songwriter/producer.However, the MIDI intro is hopelessly outdated. Considering the fact that the second edition is only one year old, this is quite disappointing. For example, the reader is advised to procure MIDI interface hardware, which very few modern instruments and no computers at all will directly accept. About the only relevant part is the extensive discussion concerning the codes and messages one can utilize, to control various features in the process of creating MIDI instruments. However, with an almost infinite supply of samples available online, only a few people will be interested and dedicated enough to pursue making their own from scratch.Richard DeRosa’s orchestration introduction covers the basics in a concise and interesting manner, allowing the reader to quickly grasp how the acoustic intruments interact with one another to form interesting sounds.The remainder of the book is divided up according to the various orchestral sections, allowing the reader to go directly to whichever part is of interest at that moment. The main emphasis is on setting up such instruments within a MIDI environment, and how to control them. There is also discussion about how each section of instruments affect themselves and the other sections, including discussions on frequency ranges and reverb placement parameters that need to be manipulated for best sound reproduction, depending on the need within a musical piece.The hardware and software tools used as examples in the books are fairly expensive, so most people who are on a tight budget will find themselves unable to indulge in such. This reader’s rough estimate of setting one’s self up with most of the tools used in the book would require an initial outlay of at least $3500 US, with the buying of an Apple MacIntosh being the biggest cost. Much of the software used in the book is pricey, starting at about $150 and increasing rapidly from there. There are many serviceable software tools available that are far cheaper (some are free!), and can be obtained by looking around online. Be careful though, because some of the “free” tools are actually demo versions of the actual, pricey ones. Such will tend to have many features disabled unless you pay for the license key to open the entire package.The authors seem blissfully unaware of the large outlay of money for the hardware and software required to even accomplish their first exercise. It is incredible to see such out-of-touch bourgeois thinking, as if everybody has a university at their beck and call to cover the costs of necessary equipment for one class.Exercise 1.2 (setting up the configuration in Figure 1.2) is almost impossible to realize, since most of the connecting equipment needed would be very difficult to obtain. Better would have been a network incorporating a USB hub with compatible cables connecting the peripherals to the computer.The MIDI pieces of hardware mentioned in Figure 1.2 have become obsolete and are no longer manufactured. The lack of an in-depth discussion here about how USB has superseded MIDI interfaces is puzzling, considering how important a role the former now plays in connecting controllers and/or live instruments to the computer hosting the DAW software. Perhaps even a few words about Windows versus OS/X would be useful here.Exercises in later chapters demand that the reader record various instruments or even voices, then manipulate them within their DAW or various MIDI software tools. As is pointed out in the book, this can very quickly become very expensive. This reader’s question is, once again, who is going to supply the capital outlay to do this? Better would be some discussion on how to do such recordings inexpensively, perhaps even under less than ideal conditions.The adjunct “website” that was promised as an online treasure trove is bare-bones at best, with only a few scores (already in an appendix in the book) and a handful of audio samples provided. All of the rest of the advertised texts and such are nowhere to be found. This reader would have liked to have had PDFs of the charts for the frequency ranges of the various orchestral instruments, along with recommended reverb settings, available to download. The book is a bit too thick to easily scan, not to mention doing so would most likely violate its copyright.The obsolete hardware information, along with its sparse online supporting presence and a few other minor details, reduced what would have been a four star rating to three. This reader would recommend buying a used copy of the book, as the retail price for a new one is too high. Even though the book is into its second edition, it is still at least five years behind the technology curve and needs to be immediately more thoroughly revised.

I ordered this book in great anticipation to find lots of technical details as to MIDI composition. However, the book appears to be mainly intended for students who are at their beginning trials (or little beyond) of computer composition. Though good at that level, and containing lots of very useful information and tips, the book does not go into the techniques, and their illustration, far enough. Many of the suggestions remain just that, without showing specific work. Ditto with techniques. "Use CCx for situation y" but, although sometimes graphically shown, many times the narative is not developed into thorough presentation. In other words, I would have desired (much) more analysis and examples.Then, there's too much introduction to traditional instruments, occupying quite a hefty chunk of the book. When creating a book of this nature, one would expect that the reader be beyond elementary stages. After all, orchestration is a capstone discipline. Evidently, one must know the ins and outs of traditional orchestration in order to procede to the next level. The authors mention this, so I won't dwell on it. In my experience, the composer who uses a computer to realise his/her musical ideas, struggles mostly with less than perfect samples, which behave differently when in combination with other samples than when are sounded only by themselves. For example, no matter how good a violin section sample may be, when put together with viola section samples it will behave differently. I know, books that fully render MIDI composition experience can be of interminable dimentions. However, more extensive books are very much needed, and I am sure that readers would copiously benefit from the present book's authors' vast experience. I also realise that such books will be more expensive than this one. Oh well, the cost of acquiring skills has never been an inexpensive endeavor.Thanks for reading, John.====================================================================================================UPDATE: I have to confess that reviewing the book only a few months after its purchase was a bit premature. I dare say this because the book is packed with much more information than meets the eye when working with it only for a relatively brief time. I am not the impudent, too sure of himself, wannabe to give advice to people as to how to proceed in their work flow. This is very personal. However, if anyone is serious about computer aided composition, then you'll have to sit down at the computer with the book and try out every solution that's given, and then try it again, and then come back to it and try to improve on it, especially when it comes to strings and woodwinds. I now have accumulated enough experience to relate to the incredible problems facing the composer when orchestrating with samples in a sequencer. For example, to date I haven't heard good violin samples as far as their higher registers. They all suffer from discontinuous, grainy sound, with residual background noise which damages bow noise, and aliasing harmonics, top manufacturers notwithstanding. I'd illustrate their sound by the action of dragging a steel shovel over gravel. This sound is exacerbated in the mix with other strings, even if one finally manages to somehow EQ out a few aliasing harmonics. The book treats many of the problems that crop up in the mix and presentation of CCs, tricks to obtaining better legato and expressivity are invaluable. Equally invaluable are the examples on the CD. Needless to say, this is a seminal book, among the very few that treat composition with orchestral samples. Most of the literature out there is focused on the rock band. This book definitely fills in a very deep hiatus in the literature.HAVING THIS BOOK IS A MUST!!A second edition soon? Wouldn't be soon enough.

Good If you have no previous experience or knowledge of midi. If you do all your composing on a keyboard it will be helpful. If you're looking for a bridge from creating virtual scores in notation software and making them useful for real instruments, this book won't help.

I have looked at several books to try and learn how to actually use midi sequencing programs. I'm a composer who has used Finale for everything, and composing with programs like Reaper, FL Studio, Cakewalk, etc. is quite different. This book helps get you started using those programs and explains things from a musical standpoint.

This book helped me to get my libraeies to sound like real instruments.

My husband LOVES this book on Acoustic and MIDI Orchestration! He is a Professor in the Music Department at Belmont & this book so blessed him! Thank you so much & be totally blessed on this lovely Spring day in May!

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Download Ebook Get Shit Done 2019 Planner: 2019 Organizer has Weekly Views with To-Do Lists, Funny Holidays & Inspirational Quotes. Weekly Planner 2019 with Vision ... Yearly Calendar and Notes. (Floral Planners)

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Product details

Series: Floral Planners (Book 5)

Paperback: 149 pages

Publisher: Independently published (August 23, 2018)

Language: English

ISBN-10: 1719862923

ISBN-13: 978-1719862929

Product Dimensions:

8.5 x 0.3 x 11 inches

Shipping Weight: 14.4 ounces (View shipping rates and policies)

Average Customer Review:

3.7 out of 5 stars

10 customer reviews

Amazon Best Sellers Rank:

#85,266 in Books (See Top 100 in Books)

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File Size: 1455 KB

Print Length: 234 pages

Simultaneous Device Usage: Unlimited

Publication Date: November 22, 2018

Language: English

ASIN: B07KTD16CP

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Amazon Best Sellers Rank:

#361,498 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

This is an excellent book, I loved it. Really explains how we got where we are in our modern mindset, how heliocentric theories opened the door to evolutionary thinking and eventually complete godlessness. He also uses scripture extensively to disprove the globe theory.

This re-do is horrible. All I can say is "thank God" that the original text is provided along with the retyped version. It is obvious that either a programme was used to scan the original and pump out a word processed version, or it was done manually, and the typist not having a clue re interpreting older type settings, abbreviations, etc. I wish I could have my money back. Again, the only redeeming feature is that picture copies of the original book chapters are present.

I highly recommend this book for any Christian who has been stirred to investigate the flat earth theory and how does it stand up to the test of scripture.This book will challenge you to cast aside man's imagined cosmos, and allow you to read God's account in Genesis (as you no doubt have done so many times) with scales removed. You will never read Genesis 1 the same way ever again 😀

good quality reprint of this esoteric work claiming the world is flat and to say otherwise is to join a vast conspiracy. Fascinating reading

Excellent book on flat earth. I didn’t realize it was written in 1900! This one and The Greatest Lie on Earth by Edward Hendrie are my personal top 2!

Great for FE research. Must read if you wish to know the truth.

Great book debunking our modern Astronomers way back in the beginning of the 20th century!

food for thought. what if. Why hide.

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Free PDF The Rabbi's Cat (Pantheon Graphic Novels), by Joann Sfar

Free PDF The Rabbi's Cat (Pantheon Graphic Novels), by Joann Sfar

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The Rabbi's Cat (Pantheon Graphic Novels), by Joann Sfar

Free PDF The Rabbi's Cat (Pantheon Graphic Novels), by Joann Sfar

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Review

“He draws faster than his shadow. He comes up with new stories as if he were drinking a glass of water. He talks more than anyone I’ve ever known. He’s extremely talented, extremely funny, extremely smart. I guess this is the description of a genius. And I don’t say such things because he’s my friend. Joann Sfar is not a rabbi, but he describes better than anyone the religious dilemma with tenderness, intelligence, and humor. The Rabbi’s Cat is a book that everybody should read.” –Marjane Satrapi, author of Persepolis“[The Rabbi’s Cat] is rich in historic and cultural detail and filled with great stories.” –The Washington Post“As fanciful as Mark Haddon’s The Curious Incident of the Dog in the Night-Time, a whole lot shorter than The Amazing Adventures of Kavalier & Clay, and a good deal more Jewish than Marjane Satrapi’s Persepolis, Joann Sfar’s graphic novel is hilarious, poignant, and wise. And now that I’m done reading it for the first time, I’m going to read it again.” –Adam Langer, author of Crossing California“An affecting, fraught, and–yes–sometimes hilarious tour de force about the complexities of living faithfully in a godless world.” –The Boston Globe“In The Rabbi’s Cat, Joann Sfar’s words and pictures mingle in a dance both sacred and skeptical, perfectly graceful and clumsily human. I loved this book and I’m so grateful Sfar’s brilliance has finally been brought to America. He is one of the brightest cartoonists in the world!” –Craig Thompson, author of Blankets

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About the Author

Considered one of the brightest and most talented of the younger generation of French comics artists, Joann Sfar has written or collaborated on more than one hundred books for adults and children. He has worked with some of the best young artists in France, including Christophe Blain, Emmanuel Guibert, and Lewis Trondheim. In the United States he’s best known for his children’s books, Little Vampire Goes to School, which made The New York Times best-seller list, and Little Vampire Does Kung Fu!, which was nominated for an Eisner Award. Sfar was awarded the prestigious Jury Prize at Angoulême for The Rabbi’s Cat. He lives in Paris with his wife, two children, and the model for the rabbi’s cat. Please visit his Web site at www.pastis.org/Joann.

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Product details

Series: Pantheon Graphic Novels

Paperback: 152 pages

Publisher: Pantheon; Reprint edition (May 22, 2007)

Language: English

ISBN-10: 0375714642

ISBN-13: 978-0375714641

Product Dimensions:

7.9 x 0.4 x 10.2 inches

Shipping Weight: 1.2 pounds

Average Customer Review:

4.5 out of 5 stars

86 customer reviews

Amazon Best Sellers Rank:

#601,111 in Books (See Top 100 in Books)

This applies to both Vol 1 and Vol 2 of The Rabbi's Cat. I rented to animated movie version and my wife and I both fell in love with it. Sfar's artwork is both original and also a bit on the wacky side, which really appeals to me. Anyway, I Googled the guy after watching the movie and found that he had several books. So, being a collector of graphic novels (especially off-beat ones) I promptly ordered both volumes from Amazon. The characters are just so vivid and illustrations are sensational. I especially love the way he draws the cat (me also being a cat-person). It's so slinky it's almost half snake, and boy is it clever. My only problem with these books is that there's so much dialogue that the print is almost microscopic in places and I actually need to use a magnifying glass to read some of it, which is the only reason I gave it four stars instead of five. I should also add that the story and settings are so vivid and touching. It really gave me a sense of a culture and place that have pretty much vanished forever. If you have any interest in the Algerian Jewish community pre WW II, rent the movie first, and if you want more stories about these characters get the books. Just be prepared for a little eye strain.

I absolutely love the rabbi's cat and his snarky comments on life. In this book life goes on. He goes on a adventure with his master's cousin, Malka,and meets a snake who offers his bite as a gift and release from the miseries of life. Then he travels with his master, another cousin who is an Arab, a Russian painter who escaped the pogroms of Russia by hiding himself in a crate of holy books shipped to Algeria, and a crazy, rich Russian who desn't belive in anything but drink and sex. They are off on an expedition to find the Falasha who live in a hidden city in Ethiopia called Jerusalem. The cat must learn to keep his mouth shut in sticky situaions or he could get everyone killed as sorcerers. Peoples in the African deserts can be superstitious and dangerous. True love intervenes, there is a singing donkey and gigantic black jews with absolutely no sense of humor. Another wonderful book about tthe rabbi's cat.

Beautiful drawings, gorgeous colors, very funny situations, intriguing conversations between the crazy cast of characters, particularly the animals--and all so very human. Discussions and disagreements about human nature, God, and religion take place in Paris, Tunisia and Africa in the early 1900s. I read the first one not realizing it was two-parter, and couldn't wait to get hold of #2. Very fun, delightful, beautiful interplays between humans and animals, humans and humans, and animals and animals. It made me laugh out loud and made me think--and now I want a lying cat that talks!

As a Jewish American, I've always been fascinated by the experiences our people in the Diaspora. The lives of American, British, French, and Algerian Jews are all different. We can be found in the unlikeliest of places; Cuba, Mexico City, Rio, Mumbai, Dublin (I'm not joking, there are Jews in Ireland).I once boarded with a Jewish family in Strasbourg. Their lives were much different from those of New York Jews; they kept a lower profile, avoided gentiles, and their eating habits were more like those of their neighbors (no bagels, herring, or kugel on their table). British Jews, respectively, make a greater effort to appear "English" while avoiding non-Jews. You won't see cockneys eating in Jewish delis (not that I saw any Jewish delis in London aside from Bloom's).The Rabbi's Cat has a very quirky story that's not easy to summarize. A scrawny cat gains the power of speech and engages his master, a Rabbi, in debates. The Rabbis gorgeous daughter, having no interest in philosophy (and having no work to do) loves this cat as if he were an irritating younger sibling.Zlabya is your typical Arabian-Nights-Fantasy though she happens to be Jewish. She marries a French Jew of Turkish origin, and some funny conflicts arise; he bores her, she feels self-conscious of her background, and her father isn't sure why the French Jews lack vitality. Or is he just too... full of life?I'm glad that graphic-novel fans will learn about the Jews of France thanks to this book. The Jews have been an important part of French society for years, but with the way things are going now, it may not last. Jews have been leaving France in greater number since 2001, and I hope they don't all leave for Israel, UK, or the USA. It would be a shame for France to lose such a great part of its culture.

This is a very entertaining tale of a clever cyncial rabbi's cat on the surface. However, the tale goes much further than exploring the cat's desire to anthropomorphise. It deals with father-daughter relationships, love, obedience, the stiffling influence of tradition, clashes between cultures, etc. It is uniquely influenced by Jewish theological exegesis and rabbinical commentary. Moreso than Will Eisner's work which was a landmark in this area (also on Amazon).I liked the artwork in the main. Panels are loosely framed on the pages which gives a light flow to the narrative. Colours are strong and mediterranean when needs be. I have two reservations however. Firstly, some of the pieces are overdrawn. Too much unnecessary detail in a scene. Text in the speech bubbles is squeezed at times and as a middle aged person with spectacles I found it hard to read on occasion. My reading wuld have been easier if overall frame size was bigger. Secondly, and this is my major reservation, the whole tale is told primarily through language used by the characters rather than through the characters actions. In other words as a graphic novel, I thought it was too wordy. You may well observe, that it is ironic that a graphic novel based around the culture of the 'people of the Book' repeats the textual propensity of much Jewish self-commentary. Eisner, to my mind, has the text-visual balance better defined. However, these are personal aesthetic opinions and shouldn't detract from the overall conceptual achievement which is exemplary.

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Free PDF Extreme Rock Climbing (Nailed It!)

Free PDF Extreme Rock Climbing (Nailed It!)

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Extreme Rock Climbing (Nailed It!)

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Product details

Series: Nailed It!

Paperback: 32 pages

Publisher: 45th Parallel Pr (August 1, 2015)

Language: English

ISBN-10: 1634700473

ISBN-13: 978-1634700474

Product Dimensions:

7.5 x 0.2 x 9 inches

Shipping Weight: 4 ounces (View shipping rates and policies)

Average Customer Review:

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Amazon Best Sellers Rank:

#7,212,425 in Books (See Top 100 in Books)

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