["The Elements of Drawing" was written during the winter of 1856. The First Edition was published in 1857; the Second followed in the same year, with some additions and slight alterations. The Third Edition consisted of sixth thousand, 1859; seventh thousand, 1860; and eighth thousand, 1861.The work was partly reproduced in "Our Sketching Club," by the Rev. R. St. John Tyrwhitt, M.A., 1874; with new editions in 1875, 1882, and 1886.Mr. Ruskin meant, during his tenure of the Slade Professorship at Oxford, to recast his teaching, and to write a systematic manual for the use of his Drawing School, under the title of "The Laws of Fésole." Of this only vol. i. was completed, 1879; second edition, 1882. As, therefore, "The Elements of Drawing" has never been completely superseded, and as many readers of Mr. Ruskin's works have expressed a desire to possess the book in its old form, it is now reprinted as it stood in 1859.] ? THE SECOND EDITION.As one or two questions, asked of me since the publication of this work, have indicated points requiring elucidation, I have added a few short notes in the first Appendix. It is not, I think, desirable otherwise to modify the form or add to the matter of a book as it passes through successive editions; I have, therefore, only mended the wording of some obscure sentences; with which exception the text remains, and will remain, in its original form, which I had carefully considered. Should the public find the book useful, and call for further editions of it, such additional notes as may be necessary will be always placed in the first Appendix, where they can be at once referred to, in any library, by the possessors of the earlier editions; and I will take care they shall not be numerous.August 3, 1857. ? PREFACE? i. It may perhaps be thought, that in prefacing a manual of drawing, I ought to expatiate on the reasons why drawing should be learned; but those reasons appear to me so many and so weighty, that I cannot quickly state or enforce them. With the reader's permission, as this volume is too large already, I will waive all discussion respecting the importance of the subject, and touch only on those points which may appear questionable in the method of its treatment. ? ii. In the first place, the book is not calculated for the use of children under the age of twelve or fourteen. I do not think it advisable to engage a child in any but the most voluntary practice of art. If it has talent for drawing, it will be continually scrawling on what paper it can get; and should be allowed to scrawl at its own free will, due praise being given for every appearance of care, or truth, in its efforts. It should be allowed to amuse itself with cheap colors almost as soon as it has sense enough to wish for them. If it merely daubs the paper with shapeless stains, the color-box may be taken away till it knows better: but as soon as it begins painting red coats on soldiers, striped flags to ships, etc., it should have colors at command; and, without restraining its choice of subject in that imaginative and historical art, of a military tendency, which children delight in, (generally quite as valuable, by the way, as any historical art delighted in by their elders,) it should be gently led by the parents to try to draw, in such childish fashion as may be, the things it can see and likes,—birds, or butterflies, or flowers, or fruit. ? iii. In later years, the indulgence of using the color should only be granted as a reward, after it has shown care and progress in its drawings with pencil. A limited number of good and amusing prints should always be within a boy's reach: in these days of cheap illustration he can hardly possess a volume of nursery tales without good wood-cuts in it, and should be encouraged to copy what he likes best of this kind; but should be firmly restricted to a few prints and to a few books.

Milyen lenyomatot hagyott bennünk 1956? T?rténelem alulnézetb?l, avagy családi emlékek, személyes t?rténetek az ominózus ?szr?l, ami után minden más lett. Hogyan lesz egy 17 éves gyárimunkás fiúból néhány nap leforgása alatt forradalmár? Mi t?rtént Erdélyben 56-ban? Mikor eszmél rá a hatéves kislány, hogy a nagyapja Magyarország legfontosabb embere? Hogyan él tovább az, akinek a menyasszonya ?r?kre elhagyta az országot? Hogyan válik a távoli kultúrából érkez? idegen október 23. szellemiségét átérz? emberré? Ilyen és ezekhez hasonló kérdésekre válaszol t?bbek k?z?tt Horgas Eszter, Varga Miklós, Kiss Zoltán Zéro, Tordai Teri, Vámos Miklós, Bornai Tibor és sokan mások. A kül?n?s, szívszorító vagy kalandos emlékekb?l megismerhetjük az ezerarcú forradalom néhány emberi mozzanatát. Naszvadi Judith családi érintettsége okán is kezdte el feltenni a kérdéseket el?bb sz?kebb, majd tágabb k?rnyezetében. A 60. évfordulóra így, ezekb?l az interjúkból állt ?ssze A mi '56-unk.

The Winter's Tale is a play by William Shakespeare, originally published in the First Folio of 1623. Although it was grouped among the comedies, some modern editors have relabelled the play as one of Shakespeare's late romances. Some critics consider it to be one of Shakespeare's "problem plays", because the first three acts are filled with intense psychological drama, while the last two acts are comedic and supply a happy ending. The play has been intermittently popular, revived in productions in various forms and adaptations by some of the leading theatre practitioners in Shakespearean performance history, beginning after a long interval with David Garrick in his adaptation called Florizel and Perdita (first performed in 1754 and published in 1756). The Winter's Tale was revived again in the 19th century, when the third "pastoral" act was widely popular. In the second half of the 20th century The Winter's Tale in its entirety, and drawn largely from the First Folio text, was often performed, with varying degrees of success. Short Summary of the Tale: John Fawcett as Autolycus in "The Winter's Tale" (1828) by Thomas Charles WagemanFollowing a brief setup scene the play begins with the appearance of two childhood friends: Leontes, King of Sicilia, and Polixenes, the King of Bohemia. Polixenes is visiting the kingdom of Sicilia, and is enjoying catching up with his old friend. However, after nine months, Polixenes yearns to return to his own kingdom to tend to affairs and see his son. Leontes desperately attempts to get Polixenes to stay longer, but is unsuccessful. Leontes then decides to send his wife, Queen Hermione, to try to convince Polixenes. Hermione agrees and with three short speeches is successful. Leontes is puzzled as to how Hermione convinced Polixenes so easily, and Leontes suddenly goes insane and suspects that his pregnant wife has been having an affair with Polixenes and that the child is a bastard. Leontes orders Camillo, a Sicilian Lord, to poison Polixenes. Camillo instead warns Polixenes and they both flee to Bohemia. Furious at their escape, Leontes now publicly accuses his wife of infidelity, and declares that the child she is bearing must be illegitimate. He throws her in prison, over the protests of his nobles, and sends two of his lords, Cleomenes and Dion, to the Oracle at Delphi for what he is sure will be confirmation of his suspicions. Meanwhile, the queen gives birth to a girl, and her loyal friend Paulina takes the baby to the king, in the hopes that the sight of the child will soften his heart. He grows angrier, however, and orders Paulina's husband, Lord Antigonus, to take the child and abandon it in a desolate place. Cleomenes and Dion return from Delphi with word from the Oracle and find Hermione publicly and humiliatingly put on trial before the king. She asserts her innocence, and asks for the word of the Oracle to be read before the court. The Oracle states categorically that Hermione and Polixenes are innocent, Camillo an honest man, and that Leontes will have no heir until his lost daughter is found. Leontes shuns the news, refusing to believe it as the truth. As this news is revealed, word comes that Leontes' son, Mamillius, has died of a wasting sickness brought on by the accusations against his mother. Hermione, meanwhile, falls in a swoon, and is carried away by Paulina, who subsequently reports the queen's death to her heartbroken and repentant husband. Leontes vows to spend the rest of his days atoning for the loss of his son and his queen.

An informative, fun and rather charming essay on the nature and history of one of life’s most desirable assets, Charm, by renowned culture and design critic, Stephen Bayley. Aiming to wound, a schoolmaster wrote on future design-guru Stephen Bayley’s last ever school report “Charm alone will not get him through”. Bayley took this to mean that an affable, genial, outgoing nature was not enough to ensure survival in a harsh world of statistical performance. But survive and flourish is exactly what Bayley did and now he aims to define Charm by looking at its origins and meanings throughout history and in the modern age.

YOU have heard of Homer, and of the two wonderful poems, the Iliad and the Odyssey, which bear his name. No one knows whether these poems were composed by Homer, or whether they are the work of many different poets. And, in fact, it matters very little about their authorship. Everybody agrees that they are the grandest poems ever sung or written or read in this world; and yet, how few persons, comparatively, have read them, or know any thing about them except at second-hand! ? Homer commences his story, not at the beginning, but "in the midst of things;" hence, when one starts out to read the Iliad without having made some special preparation beforehand, he finds it hard to understand, and is tempted, in despair, to stop at the end of the first book. Many people are, therefore, content to admire the great masterpiece of poetry and story-telling simply because others admire it, and not because they have any personal acquaintance with it.? Now, it is not my purpose to give you a "simplified version" of the Iliad or the Odyssey. There are already many such versions; but the best way for you, or any one else, to read Homer, is to read Homer. If you do not understand Greek, you can read him in one of the many English translations. You will find much of the spirit of the original in the translations by Bryant, by Lord Derby, and by old George Chapman, as well as in the admirable prose rendering by Butcher and Lang; but you can get none of it in any so-called simplified version.??My object in writing this "Story of the Golden Age" has been to pave the way, if I dare say it, to an enjoyable reading of Homer, either in translations or in the original. I have ta-ken the various legends relating to the causes of the Trojan war, and, by assuming certain privileges never yet denied to story-tellers, have woven all into one continuous narrative, ending where Homer's story begins. The hero of the Odyssey—a character not always to be admired or commended—is my hero. And, in telling the story of his boyhood and youth, I have taken the opportunity to repeat, for your enjoyment, some of the most beautiful of the old Greek myths. If I have, now and then, given them a coloring slightly different from the original, you will remember that such is the right of the story-teller, the poet, and the artist. The essential features of the stories remain unchanged. I have, all along, drawn freely from the old tragedians, and now and then from Homer himself; nor have I thought it necessary in every instance to mention authorities, or to apologize for an occasional close imitation of some of the best translations. The pictures of old Greek life have, in the main, been derived from the Iliad and the Odyssey, and will, I hope, help you to a better understanding of those poems when you come to make acquaintance directly with them.??Should you become interested in the "Story of the Golden Age," as it is here related, do not be disappointed by its somewhat abrupt ending; for you will find it continued by the master-poet of all ages, in a manner both inimitable and unapproachable. If you are pleased with the discourse of the porter at the gate, how much greater shall be your delight when you stand in the palace of the king, and hearken to the song of the royal minstrel! ?

THE Spanish peninsula, separated from France on the north by the Pyrenees, and bounded on the three remaining sides by the Mediterranean Sea and the Atlantic Ocean, con-tains an area of 225,600 square miles, being a little larger than France. Nature has reared a very formidable barrier between Spain and France, for the Pyrenees, extending in a straight line 250 miles in length, from the Bay of Biscay to the Mediterranean, and often rising in peaks more than ten thou-sand feet in height, offer but three defiles which carriages can traverse, though there are more than a hundred passes which may be surmounted by pedestrians or the sure-footed mule. The soil is fertile; the climate genial and salubrious; and the face of the country, diversified with meadows and mountains, presents, in rare combination, the most attractive features both of loveliness and sublimity.?History does not inform us when and how this beautiful peninsula—called Hispania by the Romans—first became in-habited. Whether the earliest emigrants crossed the straits of Gibraltar from Africa, or came from Asia, coasting the shores of the Mediterranean, or descended from France through the defiles of the Pyrenees, can now never be known. The first glimpse we catch of Spain, through the haze of past ages, reveals to us the country inhabited by numerous barbaric tri-bes, fiercely hostile to each other, and constantly engaged in bloody wars. The mountain fastnesses were infested with robber bands, and rapine and violence everywhere reigned. The weapons grasped by these fierce warriors consisted of lances, clubs, and slings, with sabres and hatchets, of rude fashion but of keen edge. Their food was mainly nuts and ro-ots. Their clothing consisted of a single linen garment, girded around the waist; and a woollen tunic, surmounted by a cloth cap, descended to the feet. As in all barbarous nations, the hard work of life was performed by the women.??The names even of most of these tribes have long since perished; a few however have been transmitted to our day, such as the Celts, the Gallicians, the Lusitanians, and the Iberians. Several ages before the foundations of Rome or of Carthage were laid, it is said that the Phoenicians, exploring in their commercial tours the shores of the Mediterranean, established a mercantile colony at Cadiz. The colonists growing rich and strong, extended their dominions and founded the cities of Malaga and Cordova. About 800 years before Christ, a colony from Rhodes settled in the Spanish peninsula, and established the city of Rosas. Other expeditions, from various parts of Greece, also planted colonies and engaged in successful traffic with the Spanish natives.??Four hundred years before Christ, the Carthaginian republic was one of the leading powers, and Carthage was one of the most populous and influential cities on the globe. The Carthaginians crossed the narrow straits which separate Africa from Spain, landed in great strength upon the Spanish peninsula, and, after a short but severe conflict, subdued the foreign colonies there, brought the native Spaniards into subjection, and established their own supremacy over all the southern coast. Cadiz became the central point of Carthaginian power, from whence the invaders constantly extended their conquests. Though many of the interior tribes maintained for a time a sort of rude and ferocious independence, still Carthage gradually assumed dominion over the whole of Spain.??In the year 235 B.C., Hamilcar, the father of the illustrious Hannibal, compelled nearly all the tribes of Spain to ack-nowledge his sway. For eight years Hamilcar waged almost an incessant battle with the Spaniards. Still it was merely a military possession which he held of the country, and he erected Barcelona and several other fortresses, where his soldiers could bid defiance to assaults, and could overawe the surrounding inhabitants.

IN preparing a first book of American history, it is necessary to keep in mind the two purposed such a work is required to serve. There are children whose school life is brief; these must get all the instruction they are to receive in their country's history from a book of the grade of this.To another class of pupils the first book of American history is a preparation for the intelligent study of a textbook more advanced. It is a manifest waste of time and energy to require these to learn in a lower class the facts that must be re-studied in a higher grade. Moreover, primary histories which follow the order of larger books are likely to prove dry and unsatisfactory condensations. But a beginner's book ought before all things else to be interesting. A fact received with the attention raised to its highest power remains fixed in the memory; that which is learned listlessly is lost easily, and a lifelong aversion to history is often the main result produced by the use of an unsuitable textbook at the outset.The main peculiarity of the present book is that it aims to teach children the history of the country by making them acquainted with some of the most illustrious actors in it. A child is interested, above all, in persons. Biography is for him the natural door into history. The order of events in a nation's life is somewhat above the reach of younger pupils, but the course of human life and the personal achievements of an individual are intelligible and delightful. In teaching younger pupils by means of biography, which is the very alphabet of history, we are following a sound principle often forgotten, that primary education should be pursued along the line of the least resistance. Moreover, nothing is more important to the young American than an acquaintance with the careers of the great men of his country.

AS you open this book you will probably ask, "What is a golden deed?"?Let me tell you. It is the doing of something for somebody else doing it without thought of self, without thought of reward, fearlessly, heroically, and because it is a duty.??Such a deed is possible to you, to me, to everybody. It is frequently performed without forethought or definite intention. It is the spontaneous manifestation of nobility, somewhere, of mind or heart. It may consist merely in the doing of some kind and helpful service at home or at school. It may be an unexpected test of heroism a warning of danger, a saving of somebody's life. It may be an act of benevolence, or a series of such acts, world-wide in application and results.??This little volume is only a book of samples. Here are specimens of golden deeds of various kinds and of different degrees of merit, ranging from the unpremeditated saving of a railroad train to the great humanitarian movement which carries blessings to all mankind. To attempt to tell of every such deed, or of every one that is eminently worthy, would fill a multitude of books. ??The, examples which I have chosen are such only as have occurred on American soil, or have been performed by Americans, thus distinguishing the volume from Miss Charlotte Yonge's "Book of Golden Deeds," published for English readers fifty years ago. While some of these narratives may have the appearance of romance, yet they are all believed to be true, and in most cases the real name of the hero, or of the lover of humanity, is given.??Instances of doing and daring have always a fascination for young people, and when to these is added the idea of a noble underlying motive the lessons taught by them cannot fail to be beneficial. ?

A budapesti Lánchíd pesti hídf?jénél álló Gresham-palotát mindannyian jól ismerjük – legalábbis kívülr?l. De tudjuk-e, miféle titkokat rejtett egykor az impozáns épület? Szelke László izgalmas és olvasmányos nyomozása, A Gresham a nácik ellen a 19. századtól a második világháborúig kíséri nyomon a mai luxusszálloda fordulatos t?rténetét. A százarcú épület a kezdetekt?l a t?rténelem f?sodrában állt. El?dje, a Nákó-palota magánházként olyan hírességek lakhelye volt, mint a Lánchíd tervein dolgozó Clark ?dám vagy a Széchenyi István életnagyságú portréját fest? Barabás Miklós, a század végén pedig a Gresham életbiztosító társaság székhelyéül szolgált. Miután a 20. század elején szecessziós stílusban újjáépítették, a pezsg? kávéházi élet meghatározó színterévé, haladó értelmiségiek találkahelyévé avanzsált. Ahogy a Horthy-rendszer idején egyre fogyott a leveg?, úgy vált a Gresham-palota az ellenzéki politika, a szellemi ellenállás, a mind rendszerkritikusabb kabarék otthonává ? a második világháború idején pedig a titkos diplomácia és az embermentés megkerülhetetlen k?zpontjává. Náciellenes m?vészek, újságírók, tudósítók, attasék, hírszerz?k, kémelhárítók, kett?s, s?t hármas ügyn?k?k fordultak meg a falai k?zt, és itt m?k?d?tt t?bbek k?zt a liberális párt pesti klubja, illetve a szabadelv? Esti Kurir cím? napilap szerkeszt?sége. A k?nyv lapjain a kor olyan meghatározó figurái t?nnek fel, mint Szent-Gy?rgyi Albert és Herczeg Ferenc, Szekf? Gyula és Raoul Wallenberg, de megismerkedhetünk a budapesti k?nyvhét alapítójával, a bátor emberment? Supka Gézával, a zsidót?rvények kíméletlen kritikusával, Rassay Károllyal vagy a Pódium Kabarét vezet? Békeffi Lászlóval, aki az angol titkosszolgálattal is kapcsolatban állt. Tények és legendák, t?rvénytisztel?k és provokátorok, h?s?k és áldozatok – A Gresham a nácik ellen a t?rténelem legrejtettebb kulisszái m?gé kalauzolja olvasóját. Szelke László 1975-ben született. Egyetemi adjunktus, 2013-ban szerzett doktori fokozatot, jelenleg a piliscsabai M?vel?dési Információs K?zpont és K?nyvtár igazgatója. 19?20. századi magyar és egyetemes t?rténelmet tanít a Pázmány Péter Katolikus Egyetemen.

Сестра Керри: Судьба Каролины Мибер

When his cartoons began to reach America toward the end of 1916 this country was neutral. It is with peculiar satisfaction, therefore, that I base this brief foreword upon press extracts published prior to America’s participation in the war. If it were possible to discover today an individual who was entirely ignorant as to the causes and conduct of the war, he would, after an inspection of a hundred or more of these cartoons, probably utter his conviction somewhat as follows: ?“I do not believe that these drawings have the slightest relation to the truth; I do not believe that it is possible for such things to happen in the twenti-eth century.” ??He would be quite justified, in his ignorance of what has happened in Europe, in expressing such an opinion, just as any of us, with the possible exception of the disciples of Bernhardi himself, would have been justified in expressing a similar view in July, 1914.??What is the view of all informed people today? “To Raemaekers the war is not a topic, or a subject for charity. It is a vivid heartrending reality,” says the New York “Evening Post,” “and you come away from the rooms where his cartoons now hang so aware of what war is that mental neutrality is for you a horror. If you have slackened in your determination to find out, these cartoons are a slap in the face. ??Raemaekers drives home a universal point that concerns not merely Germans, but every country where royal decrees have supreme power. Shall one man ever be given the power to seek his ends, using the people as his pawns? We cannot look at the cartoons and remain in ignorance of exactly what is the basis of truth on which they are built.”?The “Philadelphia American” likens Raemaekers to a sensitized plate upon which the spirit which brought on the war has imprinted itself forever, and adds: ?“What he gives out on that subject is as pitilessly true as a photograph. They look down upon us in their naked truth, those pictures which are to be, before the judgment-seat of history, the last indictment of the German nation. Of all impressions, there is one which will hold you in its inexorable grip: it is that Louis Raemaekers has told you the truth.”

Europa, 1900.–1914.: svijet u tra?enju, pulsiraju?e razdoblje kreativ?nosti i suprotnosti. Glavne su teme terorizam, globalizacija, imigranti, konzumerizam, propast moralnih vrijednosti i suparni?tvo velikih sila. Dvadeseto stolje?e nije se rodilo u rovovima kod Somme ili Passchendaela, nego u petnaest vrtoglavih godina koje su prethodile Prvome svjetskom ratu. U kratkom razdoblju novi svjetski poredak proiza?ao je iz tragi?nih suprotnosti staroga. Posljedice industrijske revolucije, na politi?kom i osobnom planu, osje?ale su se u cijelom svijetu: gradovi rastu zbog pristizanja seoskog stanovni?tva koje napu?ta svoje tradicionalne vrijednosti, znanost donosi napredak, ali i izume iz no?nih mora, obrazovanje je milijunima ljudi otvorilo nove mogu?nosti, masovno proizvedeni predmeti promijenili su svakodnevni ?ivot, radnici zahtijevaju udio u politi?koj vlasti, ?ene ?ele promijeniti svoj polo?aj u dru?tvu i prirodu seksualnih odnosa. Od nevjerojatne nade u novo stolje?e koju je utjelovio Svjetski sajam u Parizu 1900. do atentata na austrijskog nadvojvodu u Sarajevu 1914., povjesni?ar Philipp Blom ovo razdoblje istra?uje godinu po godinu. Premijeri i seljaci, anarhisti i glumice, znanstvenici i psihopati susre?u se na pozornici novoga stolje?a u ovom prikazu rasko?noga, nestabilnog doba na rubu katastrofe. Prelijepo napisana i puna vje?to ispri?anih anegdota, knjiga Vrtoglave godine o?ivljava ?udesa, u?ase i strahove ranoga dvadesetog stolje?a.

My Island Story

David Stevenson?jedan je od najistaknutijih prou?avatelja Prvoga svjetskog rata. U svom monumentalnom djelu?1914.–1918. Povijest Prvog svjetskog rata?kre?e od uzroka sukoba, prolazi kroz sva boji?ta, analizira geopoliti?ke odnose, ravnote?u izme?u imperijalnih sila, politi?ke i vojne promjene, kraj rata i mirovne ugovore koji su odredili okvir budu?ih me?unarodnih odnosa, te zavr?ava raspravom o nastavku ratnog sukoba drugim sredstvima i o poslijeratnom ure?enju svijeta koje ?e izazvati nove sukobe. Ova povijest jedna je od onih koje otkrivaju nove ?injenice i reinterpretiraju povijesne izvore, ali jednako tako stvaraju cjelovitu sliku o kompleksnosti sukoba. Stevensonova povijest prva je sveobuhvatna povijest Prvoga svjetskog rata objavljena u Hrvatskoj nakon vi?e od 50 godina. Knjiga koju je potrebno pro?itati da bi se shvatilo dvadeseto stolje?e i razumjelo vrijeme u kojem ?ivimo.

"e;running away from home"e; aged 15 Bernard Ross joined a travelling funfair, this book follows his adventures as one of the last live funfair wrestlers in the UK

It's 1971 and rock and roll was at its height. Small-time Australian agent Wayne Zemmerman scored an unimaginable coup when he signs British supergroup Andromeda for a nationwide tour. Showbiz reporter Scottie McPherson smells a rat and starts his investigation. The Sound Mixers is a dramatic expose of the rock industry: fiction that reads like fact. A gripping story that moves at breathtaking pace to a devastating climax, Performers, promoters, manipulators, illusion creators - the characters which inhabit the world of rock'n'roll are ruthlessly dissected in an intricate plot full of shocks and suspense. Big business is the name of the game; a game in which the tough survive... but even then not always.He clears up some old mysteries too - like what really happened on the night when American TV star Michael Cole swore on live TV at the Australian Logie Awards and how the Beatles came by their trademark haircut.But it is not all showbiz; the memoirs take us through the childhood fun and games of World War II in the UK, the miseries of teen hood and the horrors and fun of National Service, not to mention the personal traumas of five marriages and break-ups.The stories from a great raconteur run through eight decades, from 1939 through to 1970 in the UK and from then on in Australia. The book gives a shrewd insight to the changing lifestyles through those decades and through the eyes of a professional observer.

At the graveside of Chippums - beloved pet of Mrs Tarleton - the unctuous proprietor of The Little Garden of Assisi is the model undertaker, consoling the bereaved owner and reassuring her of the dog's happy existence in the afterlife. But when the mourners have gone, it's a very different story. Happy to continue to dupe unsuspecting customers, and pocket the rewards, Dribone seems to lead a charmed existence: until the Mayor arrives with a very curious request. The Little Garden of Assisi is one of three twenty-minute comedies for television in this ebook: the others are Ten Days That Shook The Kremlin, and The Yank With the Pig's Head.

Are you a fan of rock metal? Can you name the bands that are synonymous with this type of music and the songs that made them famous? Do you go to the Download Festival on the trail of your favourite rock stars? If you answered yes to any of the above questions, you definitely won't want to be without with The Rock Metal Quiz Book.What UK band charted with 'A Graveyard of Empty Bottles'? Who produced Nirvana's seminal album 'Nevermind'? What was the name of Motorhead's 1982 studio album? The answers to these questions and more can all be found in this new quiz book. The 850 questions in this book, some easy, some hard, have been put together to test your knowledge of rock metal bands, their history and their music. Full of information about your favourite groups, individual stars, lyrics, venues and much more, you are sure to find out something you never knew. This fun and entertaining reference guide is a must-have for rock metal fans of all ages.

Make it a YES! With so much competition, JUMP INTO AUDITION is the must-have guide for your audition. You only get one chance to make a FIRST IMPRESSION so let it count! FULFILL your POTENTIAL! Learn the art of preparing for auditions, tips on appropriate dress and etiquette and how to CONQUER your nerves. This book uncovers the true procedures and expectations behind auditions, so you will know exactly what to expect before you set foot on the stage. Quite simply, if you want to SUCCEED, make sure you don't attend another audition before reading this book. Including tips from choreographers, theatrical producers, singing coaches and seasoned audition professionals, JUMP INTO AUDITION will ensure you enter your audition fully prepared and ready to give the performance of your life. With sections dedicated to musicals, theatre, talent shows, dance companies and TV/film, specific advice is given for your individual type of audition, covering aspects of movement, microphone handling, supporting musical accompaniment, translation, choice of song and cold reading. There are also specific tips on breathing exercises and vocal warm-up techniques, designed to strengthen your voice and ensure a powerful delivery which will impress the judges.

Getting Off Escalators and surviving other embarrassing moments: Do you struggle to find the confidence to talk in public, without melting into a puddle of pathetic hopelessness? Are you having panic attacks when riding an escalator, or you don't feel manly enough to hold a pint with any authority of pride? Then you, sir, need this guide... or medical help... yes, medical help is probably a safer bet. But comics are funnier, so choose this. About the author: Scott Tierney is a nervous, awkward, confidence-lacking and stress-ridden writer, who produces self-help comics that provide very little guidance for those who read them. Luckily, these comics are extremely funny, so when the reader does loss their reason to live, they go out with a smile.

Twelve Month's is the story of a turbulent year in the life of Harry Shotta. A multi award winning MC who is known for his rapid fire delivery and versatility, this book gives readers an insight into the story behind his 'Twelve Months' mixtape. Delving into emotional memories from his childhood and a year which included extreme highs and lows it is a very personal and honest account of a year filled with 'love and pain in the fast lane'.