Rabu, 31 Desember 2014

> Fee Download Hugo Wolf: The Vocal Music, by Susan Youens

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Hugo Wolf: The Vocal Music, by Susan Youens


In the virtual cottage industry of recent works on fin-de-sicle Vienna, Hugo Wolf (1860-1903) has been somewhat neglected, perhaps because he was the master of a small genre--the late Romantic lied--and never truly made his mark in the larger forms that command greater public attention. But in the realm of song, he is among the greatest inheritors of Schubert and Schumann, one who was both a traditionalist and a modernist. When the Viennese critic Eduard Hanslick disapprovingly dubbed Wolf "the Richard Wagner of the lied," he was paying oblique homage to Wolf's genius as a song composer in the most modern manner.


In this book Susan Youens examines five aspects of Wolf's compositional art, each exemplifying a different synthesis of traditionalism and modernity and spanning his entire, tragically brief creative life, from his first efforts to his lapse into insanity in 1897. Wolf's youthful imitations of Schumann (a common phenomenon at the time), his genius for comic songs of a kind unlike any of his predecessors, his part in the ballad revival of the late nineteenth century, Wolf in relation to his contemporaries, and his pursuit of operatic fame--in her investigation of these subjects, Youens discusses the poetic texts as closely as she does the music and includes numerous previously unpublished sketches and fragments, examples from songs now long out-of-print and difficult to obtain, and citations from Wolf's vivid letters and from other sources of the period. For lieder enthusiasts, this book has much that is new or little known to offer.


  • Sales Rank: #4404366 in Books
  • Published on: 1992-09-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.18" h x 6.46" w x 9.55" l,
  • Binding: Hardcover
  • 412 pages

Review
"[This book] represents a powerfully impressive intellectual and aesthetic achievement. There has never been a better-informed and more perceptive commentary on its chosen musical subjects in this century; nor is there likely to be in the next."--The Musical Times

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Selasa, 30 Desember 2014

> Fee Download The Tiny Seed (The World of Eric Carle), by Eric Carle

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The Tiny Seed (The World of Eric Carle), by Eric Carle

Join the tiny seed on an adventure as it becomes a giant flower!

  • Sales Rank: #76415 in Books
  • Brand: Little Simon
  • Published on: 2005-02-01
  • Released on: 2005-02-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.00" h x .90" w x 5.00" l, .68 pounds
  • Binding: Board book
  • 34 pages
Features
  • Used Book in Good Condition

From Publishers Weekly
This picture book admirably conveys the miracle of a seed. Flower pods burst and dispatch their seeds on the wind; the air-borne seeds are subject to myriad disasters; and the ones that make it through the perils of the seasons to become mature flowering plants are still susceptible to being picked, trod upon and otherwise damaged. But nature allows for survivors, and so the tiny seed grows into a giant flower, releasing its seeds and continuing the cycle. As he has demonstrated with The Very Hungry Caterpillar and other books, Carle has an extraordinary kinship with nature. Here we have not just the explanation of the life of a flower, but drama, lessons of life and a lovely spirituality. This is a reissue of the original 1970 edition, with expanded, expansive collage illustrations. The pages, like the seed pods, burst with color. Ages 4-8.
Copyright 1987 Reed Business Information, Inc.

From the Back Cover
In autumn, a strong wind blows flower seeds high in the air and carries them far across the land. One by one, many of the seeds are lost -- burned by the sun, fallen into the ocean, eaten by a bird. But some survive the long winter and, come spring, sprout into plants, facing new dangers -- trampled by playing children, picked as a gift for a friend. Soon only the tiniest seed remains, growing into a giant flower and, when autumn returns, sending its own seeds into the wind to start the process over again.

About the Author
Eric Carle is an internationally bestselling and award-winning author and illustrator of more than seventy books for very young children including his most well-known title The Very Hungry Caterpillar. Born in Syracuse, New York, Eric Carle moved to Germany with his parents when he was six years old. He studied at the prestigious art school, the Akademie der bildenden Künste, in Stuttgart before returning to the United States, where he worked as a graphic designer for The New York Times and later as art director for an international advertising agency. The Very Hungry Caterpillar, now considered a modern classic, has sold more than 41 million copies and has been translated into sixty-two languages. With his late wife, Barbara, Eric Carle cofounded The Eric Carle Museum of Picture Book Art in Massachusetts in 2002. Eric Carle divides his time between the Florida Keys and the hills of North Carolina.

Eric Carle is an internationally bestselling and award-winning author and illustrator of more than seventy books for very young children including his most well-known title The Very Hungry Caterpillar. Born in Syracuse, New York, Eric Carle moved to Germany with his parents when he was six years old. He studied at the prestigious art school, the Akademie der bildenden Künste, in Stuttgart before returning to the United States, where he worked as a graphic designer for The New York Times and later as art director for an international advertising agency. The Very Hungry Caterpillar, now considered a modern classic, has sold more than 41 million copies and has been translated into sixty-two languages. With his late wife, Barbara, Eric Carle cofounded The Eric Carle Museum of Picture Book Art in Massachusetts in 2002. Eric Carle divides his time between the Florida Keys and the hills of North Carolina.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Seeds NOT incuded
By Michael McGuire
I am very disappointed in this product. The main attraction was the seed-embedded paper 'included' in the book......the paper was NOT included. I ordered 2 books for my grandchildren's birthdays to go with gardening items. It was going to be lots of fun to plant the seeds and watch them grow. I guess I'll have to go purchase seeds separately even though inside the front cover and on the back of the book it mentions the 'detachable' seed paper. Grammie Mc

2 of 2 people found the following review helpful.
The Tiny Seed book with NO SEEDS!
By Moonflower
There were no seeds. The "detachable seed-embedded paper" was not in the book.

Cute book but it loses its appeal when it does not have what I specifically wanted out of this purchase. It would have been a nice little project to go along with the story.

Fail.

Can I have a $1.50 credit? Since I now need to go purchase some tiny seeds?

2 of 2 people found the following review helpful.
NO SEEDS
By Amazon Customer
Great book, BUT.... I purchased 6 of them for gifts and they ALL came without the seeded paper. Very disappointing. Amazon sant me a replacement for all the 6 books and now all 12 have no seeds

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^^ PDF Ebook Why Movements Succeed or Fail, by Lee Ann Banaszak

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Why Movements Succeed or Fail, by Lee Ann Banaszak

Wyoming became the first American state to adopt female suffrage in 1869--a time when no country permitted women to vote. When the last Swiss canton enfranchised women in 1990, few countries barred women from the polls. Why did pro-suffrage activists in the United States and Switzerland have such varying success? Comparing suffrage campaigns in forty-eight American states and twenty-five Swiss cantons, Lee Ann Banaszak argues that movement tactics, beliefs, and values are critical in understanding why political movements succeed or fail. The Swiss suffrage movement's beliefs in consensus politics and local autonomy and their reliance on government parties for information limited their tactical choices--often in surprising ways. In comparison, the American suffrage movement, with its alliances to the abolition, temperance, and progressive movements, overcame beliefs in local autonomy and engaged in a wider array of confrontational tactics in the struggle for the vote. Drawing on interviews with sixty Swiss suffrage activists, detailed legislative histories, census materials, and original archival materials from both countries, Banaszak blends qualitative historical inquiry with informative statistical analyses of state and cantonal level data. The book expands our understanding of the role of political opportunities and how they interact with the beliefs and values of movements and the societies they seek to change.

  • Sales Rank: #2611259 in Books
  • Brand: Brand: Princeton University Press
  • Published on: 1996-08-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .71" w x 6.00" l,
  • Binding: Paperback
  • 296 pages
Features
  • Used Book in Good Condition

Review
"In this comparative analysis, Lee Ann Banaszak explores why woman suffrage came to Switzerland so much later than the United States. . . . [She] provides a wealth of information organized by a keen analytical mind and informed by strong theoretical preferences."--American Historical Review

From the Publisher
Wyoming became the first American state to adopt female suffrage in 1869 a time when no country permitted women to vote. When the last Swiss canton enfranchised women in 1990, few countries barred women from the polls. Why did prosuffrage activists in the United States and Switzerland have such varying success? Comparing suffrage campaigns in fortyeight American states and twentyfive Swiss cantons, Lee Ann Banaszak argues that movement tactics, beliefs, and values are critical in understanding why political movements succeed or fail. The Swiss suffrage movement's beliefs in consensus politics and local autonomy and their reliance on government parties for information limited their tactical choicesoften in surprising ways. In comparison, the American suffrage movement, with its alliances to the abolition, temperance, and progressive movements, overcame beliefs in local autonomy and engaged in a wider array of confrontational tactics in the struggle for the vote.

Drawing on interviews with sixty Swiss suffrage activists, detailed legislative histories, census materials, and original archival materials from both countries, Banaszak blends qualitative historical inquiry with informative statistical analyses of state and cantonal level data. The book expands our understanding of the role of political opportunities and how they interact with the beliefs and values of movements and the societies they seek to change.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Excellent example of comparative work in women's suffrage
By V. Brader
Though there are large numbers of books on the woman suffrage movements in the U.S. and Britain, and a smattering of books on the suffrage movements of other nations, this is one of the very few books to look at what comparing these movements can tell us about the ingredients for success of these movements (and the ingredients for failure). An important and lucid step in the scholarship on woman suffrage movements and social movements more generally.

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Minggu, 28 Desember 2014

! Free Ebook Christopher Wilmarth: Light and Gravity, by Steven Henry Madoff

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Christopher Wilmarth: Light and Gravity, by Steven Henry Madoff

Christopher Wilmarth delighted the world with light-filled sculptures of glass and steel that were deeply poetic in their moods and extraordinarily rich in their modernist heritage. But in 1987, at the peak of his career, a long struggle with depression ended tragically for Wilmarth. The internationally acclaimed artist committed suicide at age 44, and his work largely fell from the public view.

Now, Wilmarth's legacy is recaptured in this beautifully written, richly illustrated book by art critic, historian, and poet Steven Henry Madoff. The first in-depth look at Wilmarth's extraordinary life as an artist, the book explores both the light and the darkness that underlie his work. Madoff offers a critical overview of the artist's career, examining the sculptor's response not only to historical masters such as Cézanne, Brancusi, Matisse, and Giacometti, but also to the art world of his times--particularly the dominant influence of Minimalism. Using the newly created Wilmarth archive at Harvard University's Fogg Art Museum, Madoff anchors this moving interpretation with the sculptor's own writings unearthed from journals, student notebooks, artist sketchbooks, and letters.

Madoff draws as well from interviews, articles, and poems that Wilmarth published in his lifetime, along with the body of criticism covering Wilmarth's development over the years. Acclaimed biographer Nancy Milford contributes a poignant memoir of her years of friendship with the artist, and Fogg associate curator Edward Saywell offers a powerful selection of Wilmarth's writings. The sculptor's romantic outlook, his gorgeously light-infused art, and his dramatic decline into work of harrowing darkness are sensitively examined in a book that reintroduces Christopher Wilmarth's sculptures and graphics to the contemporary art audience.

  • Sales Rank: #2402502 in Books
  • Brand: Brand: Princeton University Press
  • Published on: 2004-09-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.18" h x .98" w x 10.26" l, 3.27 pounds
  • Binding: Hardcover
  • 208 pages
Features
  • Used Book in Good Condition

Review
Winner of the 2004 Award for Best Professional/Scholarly Book in Art, Association of American Publishers

"This book shows a deep understanding of Wilmarth's work and career. It is the most comprehensive study we have of this singular artist."--Wall Street Journal

"A moving elegy by art critic and poet Steven Henry Madoff who finds the man through deep analysis of his art. . . . This treatment is temperamentally suited to Wilmarth's art, which was so much about the realm between the physical and the spiritual as achieved through the mercurial qualities of glass. . . . It's impossible to really feel another person's demons, but as Madoff looks into the dark patinas of Wilmarth's once-translucent glass orbs, he makes us feel the tragedy of hope lost."--Hilarie M. Sheets, Art News

"Steven Madoff writes perceptively about Wilmarth, responding to the poetry of his works, and few who look closely at this book will think of glass, steel, and their conjunction, in quite the same way again."--The Architect's Journal

From the Inside Flap
"In this elegantly constructed book, Steven Henry Madoff combines a thoughtful consideration of Wilmarth's anguished life with a fine appreciation of the long-term trajectory and visual poetry of his work. Full of fascinating insights, it is a pleasure to read."--Jack Flam, Brooklyn College and City University of New York Graduate Center.

"The volume will be an important addition to the literature on post-war American art. Written by someone who is both art critic and poet, Madoff's book contains many sensitive interpretations of Wilmarth's work."--Bruce Altshuler, New York University

"This book will fill a significant void in the literature on recent American art. Madoff's text is elegantly written and very informative--a thorough interpretation of Wilmarth's work."--John Beardsley, Harvard Design School

From the Back Cover

"In this elegantly constructed book, Steven Henry Madoff combines a thoughtful consideration of Wilmarth's anguished life with a fine appreciation of the long-term trajectory and visual poetry of his work. Full of fascinating insights, it is a pleasure to read."--Jack Flam, Brooklyn College and City University of New York Graduate Center.

"The volume will be an important addition to the literature on post-war American art. Written by someone who is both art critic and poet, Madoff's book contains many sensitive interpretations of Wilmarth's work."--Bruce Altshuler, New York University

"This book will fill a significant void in the literature on recent American art. Madoff's text is elegantly written and very informative--a thorough interpretation of Wilmarth's work."--John Beardsley, Harvard Design School

Most helpful customer reviews

0 of 0 people found the following review helpful.
An artist who should not be overlooked
By Kindle Customer
Great monograph about an artist who could have had a tremendous career. His glass and steel sculptures were an elegant statement of his minimalist sensibility.

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Jumat, 26 Desember 2014

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  • Sales Rank: #1850000 in Books
  • Brand: Brand: Little Simon
  • Published on: 2004-01-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.03" h x .10" w x 8.01" l,
  • Binding: Paperback
  • 24 pages
Features
  • Used Book in Good Condition

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The Easter Beagle!
By Jersey Gal
A great book for kids... my children love classic snoopy - so this is a great book for anyone who loves snoopy or the peanuts!

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Kamis, 25 Desember 2014

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The description for this book, Psychology and Education, will be forthcoming.

  • Sales Rank: #3988613 in Books
  • Brand: Brand: Princeton University Press
  • Published on: 1969-06-21
  • Number of items: 1
  • Binding: Paperback
  • 161 pages
Features
  • Used Book in Good Condition

Language Notes
Text: English, German (translation)

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Minggu, 21 Desember 2014

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"You people put importance on your lives. Well, my life has never been important to anyone. I haven't got any guilt about anything," bragged the mass-murderer Charles Manson. "These children that come at you with knives, they are your children. You taught them. I didn't teach them. . . . They are running in the streets--and they are coming right at you!" When a real murderer accuses the society he has brutalized, we are shocked, but we are thrilled by the same accusations when they are mouthed by a fictional rebel, outlaw, or monster. In Bitter Carnival, Michael Andr Bernstein explores this contradiction and defines a new figure: the Abject Hero. Standing at the junction of contestation and conformity, the Abject Hero occupies the logically impossible space created by the intersection of the satanic and the servile. Bernstein shows that we heroicize the Abject Hero because he represents a convention that has become a staple of our common mythology, as seductive in mass culture as it is in high art. Moving from an examination of classical Latin satire; through radically new analyses of Diderot, Dostoevsky, and Cline; and culminating in the courtroom testimony of Charles Manson, Bitter Carnival offers a revisionist rereading of the entire tradition of the "Saturnalian dialogue" between masters and slaves, monarchs and fools, philosophers and madmen, citizens and malcontents. It contests the supposedly regenerative power of the carnivalesque and challenges the pieties of utopian radicalism fashionable in contemporary academic thinking. The clarity of its argument and literary style compel us to confront a powerful dilemma that engages some of the most central issues in literary studies, ethics, cultural history, and critical theory today.


  • Sales Rank: #820199 in Books
  • Brand: Brand: Princeton University Press
  • Published on: 1992-03-17
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.75" h x 6.50" w x .75" l,
  • Binding: Hardcover
  • 260 pages
Features
  • Used Book in Good Condition

From Publishers Weekly
The prevailing taste of our epoch, writes Italian semiotics professor Calabrese, is neo-baroque, a style marked by frantic rhythms, organized variations and a fondness for "instability, polydimensionality, and change." Using this broadly inclusive definition, he analyzes patterns of repetition and variation in TV serials like Dallas and Columbo ; explores the constant metamorphosis of characters in Italo Calvino's novels and Woody Allen's Zelig ; and unravels labyrinths and knots in video games and Umberto Eco's novel The Name of the Rose. Calabrese sees neo-baroque as a means of introducing minor variations to already familiar themes in order to pique the interest of a mass audience that thinks everything has already been said or done, whether in films, architecture, music videos or literature. However, his attempt to link current scientific ideas with artistic forms--as in a spurious connection drawn between a science fiction film about mutants and theories of fluctuation--too often makes this academic tome seem superficial and misleading.
Copyright 1992 Reed Business Information, Inc.

From Library Journal
Combining Kristeva's notion of abjection and Nietzsche's concept of ressentiment, Bernstein here offers a radical challenge to the ways that contemporary literary critics read Bakhtin's theory of the carnivalesque. Contrary to Bakhtin and others, Bernstein argues that the conventional Saturnalian dialog gives rise not to a comic hero but to an abject hero--a character who is both victim and murderer, fool and host, "servile and satanic"--the voice as well as the target of satire. In tracing the career of this hero in literature, the author performs provocative and insightful readings of Horace's satires, Diderot's Rameau's Nephew , Dostoevsky's Notes from the Underground , and Celine's "war trilogy." A final chapter reads Charles Manson as the abject hero of the Saturnalian dialog of postmodern culture. This book is an important companion volume to M. Keith Booker's Techniques of Subversion in Modern Literature: Transgression, Abjection, and the Carnivalesque (Univ. of Florida Pr., 1992). A significant addition for academic and large public libraries.
- Henry L. Carrigan Jr., Westerville P.L., Ohio
Copyright 1992 Reed Business Information, Inc.

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In this brief and incisive book, Pulitzer Prize-winning historian Garry Wills tells the story of the Confessions--what motivated Augustine to dictate it, how it asks to be read, and the many ways it has been misread in the one-and-a-half millennia since it was composed. Following Wills's biography of Augustine and his translation of the Confessions, this is an unparalleled introduction to one of the most important books in the Christian and Western traditions.

Understandably fascinated by the story of Augustine's life, modern readers have largely succumbed to the temptation to read the Confessions as autobiography. But, Wills argues, this is a mistake. The book is not autobiography but rather a long prayer, suffused with the language of Scripture and addressed to God, not man. Augustine tells the story of his life not for its own significance but in order to discern how, as a drama of sin and salvation leading to God, it fits into sacred history. "We have to read Augustine as we do Dante," Wills writes, "alert to rich layer upon layer of Scriptural and theological symbolism." Wills also addresses the long afterlife of the book, from controversy in its own time and relative neglect during the Middle Ages to a renewed prominence beginning in the fourteenth century and persisting to today, when the Confessions has become an object of interest not just for Christians but also historians, philosophers, psychiatrists, and literary critics.

With unmatched clarity and skill, Wills strips away the centuries of misunderstanding that have accumulated around Augustine's spiritual classic.

  • Sales Rank: #324982 in Books
  • Published on: 2011-02-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.82" h x .76" w x 4.82" l, .56 pounds
  • Binding: Hardcover
  • 176 pages

Review
"Another gem of a little book by Garry Wills. . . . Wills describes brilliantly the manner in which this strange work seeped slowly through literary circles. . . . His book is a passionate plea that we should read Augustine's strange book as it was first heard, and in the light of the purposes for which it was first written."--Peter Brown, New York Review of Books

"Wills does for Augustine's Confessions what he did for the Gettysburg Address, which is to take a well-known iconic work and examine it with fresh eyes. He views the Confessions as a book haunted by Genesis, and this perspective allows him to notice things that are overlooked by commentators whose views are preformed by the interpretive tradition. Having translated the Confessions and written a biography of Augustine, Wills is not afraid to go out on a limb, and so even readers who would not agree with his often cheeky interpretations are forced to look at the work afresh. . . . Wills offers an iconoclastic interpretation of a classic work, one that deserves a fresh treatment every few years."--Augustine J. Curley, Library Journal

"Like a biography of a person, this volume takes Augustine's Confessions and traces its birth, growth and decline, and legacy. Since so much of an author's life is connected to his or her work--especially in the case of Confessions--this can't help but include a decent amount of Augustine's own bio. . . . Very readable and highly engaging."--Wade Osburn, Booklist

"[Augustine] and Wills, 76--one of the most distinguished Catholic intellectuals (and American historians) alive--make a potent pair in this lovely little volume, a biography not of the author, but of the book itself, especially of how it has been received in the 16 centuries since its creation. . . . Augustine is always going to matter to the Western tradition, atheist or religious, for his insights into the human psyche, and his thoughts on memory and the elusiveness of time. Wills, by stripping away centuries of myth-making, makes him more accessible than ever."--Brian Bethune, Macleans

"This is the type of biography you normally don't see. It is not a biography of Augustine, there are enough of those; it is not another translation of his Confessions, there are enough of those as well. What this is, and what it attempts to be, is a biography of Augustine's Confessions."--Kevin Winter, Portland Book Review

"Garry Wills really is a modern-day Renaissance man. He won a Pulitzer Prize for Lincoln at Gettysburg and then turned his attention to St Augustine, firstly translating Confessions, then writing a biography (St Augustine: A Life) and now offering a 'life' of Confessions from 'The Book's Birth' (the title of the opening chapter) through 'The Book's Conversion' to 'The Book's Baptismal Days' to 'The Book's Afterlife'. And what a story it is."--Bruce Elder, Sydney Morning Herald

"This is a short, reliable and well-written introduction to Augustine's Confessions that describes, firstly, how the Confessions came to be written and, secondly, the author's intentions in writing the Confessions these are not quite the same and, thirdly, the subsequent fate of the book. . . . With a deft touch, and in non-technical language, Wills' introductory book not only relays these ideas to the widest possible readership--but also communicates a sensitive understanding of the original context in which the Confessions were written and of Augustine's intentions in writing them."--Stephen Leach, Metapsychology

"Garry Wills . . . writes about Augustine's Confessions sympathetically but rigorously. He traces its trajectory from first appearance at the end of the 4th century AD until our time, and discusses the ideas contained within it. The result is readable and illuminating, and it sent this reader to Google and Amazon in search of more."--Miriam Cosic, The Australian

"Garry Wills has written a short book that teaches us how to read a longer book. If we follow Wills' instructions we will discover new riches in St. Augustine's seminal classic, The Confessions. . . . This is a very helpful guide to the Confessions that makes the great spiritual classic accessible to a new generation of readers. Wills' book is not only scholarly, but it makes good spiritual reading. It is highly recommended, not just for the regular reader, but for students of Augustine looking for a fresh take on this great book."--Fr. Gilles Mongeau S.J., Catholic Register

"The single most important thing for Wills, the thing he'd most like you to accept, is that Confessions is not autobiography. For Wills, this misreading of Augustine's best-known work has given us any number of interpretations (Freudian, sociological, historical) that obscure the point. And that point is? According to Wills, Confessions exist as a kind of 'training ground' or preparation for a reading of the Bible. He shows us how Augustine uses incidents from his life (some actual, some allegorical, some difficult to place on either side of the ledger) to turn the reader's mind toward holy writ, specifically Genesis. In other words, to prepare us to see/read/feel God's presence as it is revealed in Genesis. . . . His arguments make for vivid reading."--André Alexis, Globe and Mail

"I have taught the Confessions about twenty times, yet there are things in it I hadn't noticed until Wills pointed them out. This is a tribute to his erudition and critical acumen, but it's also a tribute to the Confessions itself, which, like any other classic, offers the reader an inexhaustible surplus of meaning."--Lawrence S Cunningham, Commonweal

"[A] brief, beautifully written story of the Confessions themselves. . . . [Wills] is a prolific writer who has tackled an extraordinary range of topics. . . . Wills clearly loves his subject . . . and that admiration is tied to a clear-headed examination of the many ways Augustine's critics have gone astray over time."--Jean Bethke Elshtain, American Conservative

"This is a masterful introductory work, written by someone of real eloquence and theological sensitivity. It is worth every minute spent on a first reading, and I have no doubt I will go back to the underlined passages each time I reread Confessions in the future."--Kim Paffenroth, Biography

From the Back Cover

"Garry Wills rescues Augustine's Confessions from its posterity, peeling away layer after layer of anachronistic reactions to the text and providing an invaluable aid to readers. A master restorer, Wills gives us a picture carefully cleaned of a millennium-and-a-half of varnish. More than that: he helps us appreciate what the original colors actually meant to those who first made contact with Augustine's strange book. This is vintage Wills--punchy, clear, well-argued, and beautifully translated, both linguistically and culturally."--Peter Brown, Princeton University, author of Augustine of Hippo: A Biography

"This is a sensitive, informed, and just appreciation of and introduction to the Confessions. It does justice both to the appealing narrative of sin and fall that preoccupies most readers and to the more complicated structure and ending of the whole work. Few books on the Confessions rival the excellence or concision of this one."--James J. O'Donnell, Georgetown University, author of Augustine: A New Biography

About the Author
Garry Wills is the best-selling author of many books on religion and American history, including the Pulitzer Prize-winning "Lincoln at Gettysburg" (Simon & Schuster). His recent books include "St. Augustine: A Life" (Viking) and a translation of "Augustine's Confessions" (Penguin Classics).

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1 of 1 people found the following review helpful.
Wonderful "biography" of a classic
By Jordan M. Poss
I’ve enjoyed a number of the titles in Princeton’s Live of Great Religious Books series, and, having read a number of St. Augustine’s works since college, I looked forward to reading Garry Wills’s “life” of the Confessions. With one or two caveats, I was not disappointed. Wills’s biography of the Confessions is a brisk, well-written, and informative guide to the life and times of Augustine’s book.

One of the strengths of Wills’s book is the attention he gives to the historical context in which Augustine wrote. Or dictated, as Wills points out all important people of Augustine’s time and place—and volume of output—did. Wills lays out the way people of the time wrote, what assumptions they brought to the writing process, and how writing was duplicated and disseminated. Where modern people are accustomed to read a book like Confessions as the private journal of a man’s intimate thoughts with God, in reality it was dictated to a roomful of scribes while yet other writing projects and ecclesial duties were underway.

Over the course of recounting both the story of Confessions and how Augustine came to write it, Wills also exposes the centrality of Genesis to Augustine’s story. The parallels are myriad but often overlooked, and Wills does a wonderful job highlighting them. Augustine, in telling his own story, consciously invoked the imagery and message of Genesis—his fall and redemption were Adam’s. The result, for me, was a renewed appreciation of the Confessions as a literary work.

Two things keep me from giving the book five stars. The first is that the latter third or so of the book becomes very quotation-heavy. Wills falls into a rhythm—explaining a passage of Augustine, quoting at length from it, sometimes as much as a page and a half, and then rehearsing again the passage’s meaning and tying it to the next such passage to be quoted. It becomes repetitious and even tedious after a while, all the more so because it is unnecessary.

Second, the book, unlike the others in the Lives of Great Religious Books, severely truncates the section of the biography dealing with the Confessions’ “life” since Augustine. Wills runs through the history of the Confessions’ reception and interpretation in a single chapter, gliding over points like Aquinas, Luther, and Calvin in a single paragraph. This section has offered some of the most interesting and rewarding material in the other Lives in the series (especially my two favorites, Alan Jacobs’s life of The Book of Common Prayer and Mark Larrimore’s life of The Book of Job), but Wills all but skips it. And as short as the book is, the shortest of the series by far, it could have stood expansion.

Despite those two weaknesses, Augustine’s Confessions: A Biography is an excellent read. Wills takes a great work of literature, meditation, and devotion and, by unpacking the literary and theological features of Augustine’s narrative and setting the book in its historical context, makes it fresh, vivid, and helps the reader understand just what gave the book its lasting power.

Recommended.

2 of 3 people found the following review helpful.
Excellent book
By P. Stern
A terrific little book -- lucid, forceful, and original in its way. A genuine pleasure to read. Wills is good on Augustine, on the Confessions, and on the "afterlife" of Augustine's great work. He cites Gibbon but misses Gibbon's best zinger on Augustine (admittedly directed to City of God): "[Augustine's] learning is too often borrowed, and his arguments are too often his own." Decline and Fall, vol. II, p. 67, n.79.

0 of 0 people found the following review helpful.
Very learned work and well written
By Harry
A very learned work and well written. The author has an in depth knowledge of Augustine and his writings. He quotes references by other authorities on Augustine, like Dr. O'Donnell.
I recommend it to everyone who would like to get familiar with the subject.
Conn Harrington.

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Kamis, 18 Desember 2014

> Ebook Free Why People Cooperate: The Role of Social Motivations, by Tom R. Tyler

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Why People Cooperate: The Role of Social Motivations, by Tom R. Tyler

Any organization's success depends upon the voluntary cooperation of its members. But what motivates people to cooperate? In Why People Cooperate, Tom Tyler challenges the decades-old notion that individuals within groups are primarily motivated by their self-interest. Instead, he demonstrates that human behaviors are influenced by shared attitudes, values, and identities that reflect social connections rather than material interests.

Tyler examines employee cooperation in work organizations, resident cooperation with legal authorities responsible for social order in neighborhoods, and citizen cooperation with governmental authorities in political communities. He demonstrates that the main factors for achieving cooperation are socially driven, rather than instrumentally based on incentives or sanctions. Because of this, social motivations are critical when authorities attempt to secure voluntary cooperation from group members. Tyler also explains that two related aspects of group practices--the use of fair procedures when exercising authority and the belief by group members that authorities are benevolent and sincere--are crucial to the development of the attitudes, values, and identities that underlie cooperation.

With widespread implications for the management of organizations, community regulation, and governance, Why People Cooperate illustrates the vital role that voluntary cooperation plays in the long-standing viability of groups.

  • Sales Rank: #510425 in Books
  • Brand: Brand: Princeton University Press
  • Published on: 2013-02-24
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.20" h x .80" w x 6.00" l, .80 pounds
  • Binding: Paperback
  • 232 pages
Features
  • Used Book in Good Condition

Review
One of Choice's Outstanding Academic Titles for 2011: Top 25 Books

"I am a fan of Tyler's approach. . . . [H]e supports his theoretical approach by clear and rigorous research rather than the polemic that all too often substitutes for thought in criminology. . . . [H]e demonstrates the paucity of the view that human action is pushed and pulled by the lures of rewards and threats of penalties. . . . [H]e focuses not on the supposed outcomes of policing (such as crime rates), but upon how policing is conducted."--P.A.J. Waddington, Policing

"One of the clear strengths of Why People Cooperate is its applicability to a variety of disciplines. Certainly, social psychologists and some political scientists with an empirical bent will want to read this book because it offers new ways to explore interactions and exchanges within groups. Industrial/organizational psychologists and researchers in management science, too, will readily see the applicability of Tyler's persuasive evidence. . . . Researchers interested in social policies. . . are also likely to find grist for their respective mills in this brief but rich book."--Dana S. Dunn, PsycCRITIQUES: Contemporary Psychology: APA Review Of Books

"[T]he book is well written, the ideas are presented clearly and the arguments are empirically grounded. Professor Tyler not only captures the reader's attention, but also manages to change his/her mind about the topic. The book is highly recommended to researchers, academics, professionals and even laypeople interested in the topic."--Francesc S. Beltran, Journal of Artificial Societies Social Simulation

"With innovative analyses throughout Why People Cooperate: The Role of Social Motivations, Tom Tyler offers the foundation for participation based in social relationships. Numerous recent studies are cited that build his assertions and provide documented results for motivating cooperation within a variety of group settings."--Paula Tripp, Journal of Family and Consumer Sciences

"Summing up, Tom Tyler's book provides a very useful framework for defining and describing various types of cooperation, provides a compelling empirical analysis of instrumental and social motivations that underlie cooperative behavior, and draws out the implications of these findings for organizational design."--Timothy R. Wojan, Journal of Regional Science

From the Back Cover

"In Why People Cooperate, Tyler demonstrates how a focus on fair procedures administered in an atmosphere of mutual trust can create groups that voluntarily function to produce effective problem solving efforts. Those concerned with productive functioning in groups, organizations, and societies will do well to attend to Tyler on the social motivations that lead to success in those settings."--John Darley, Princeton University

"Why People Cooperate provides nothing less than a new direction for the social sciences. Tyler gathers a wide array of disparate phenomena--morality, emotions, norms, attitudes, legitimacy, self-esteem, and trust--under a single theoretical umbrella. The book provides convincing evidence that these phenomena can produce cooperative workers and citizens because they affect the innate human desire to associate in positive ways with each other."--Jeffrey J. Rachlinski, Cornell Law School

"For decades, social science thinking has been dominated by the assumption that human behavior is primarily instrumental--that people's behaviors are determined by the rewards and punishments that result from their actions. Making a major and enormously important paradigmatic shift, Tyler argues instead that social motivations based in attitudes, values, identity, procedural justice, and motive-based trust are often a far more significant determinant of human behavior and a more effective and less costly tool for institutional design. This book is a must-read not only for academics looking for an alternative to the instrumental model of human behavior, but for any individual concerned with what is needed to make institutions and society work effectively."--Christopher Winship, Harvard University

About the Author
Tom R. Tyler is the Macklin Fleming Professor of Law and Professor of Psychology at Yale Law School.

Most helpful customer reviews

0 of 0 people found the following review helpful.
This book in the hands of Community and Police leaders ...
By John P. Mutz
This book in the hands of Community and Police leaders working together could alter the relationships in our diverse communities where we have seen distrust with the police. Very encouraging! The importance of treating people with dignity and respect and as well as fair treatment could redefine the image of the police.

0 of 0 people found the following review helpful.
Five Stars
By John Hamilton
Very good discussion that was well supported by research

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^^ Download The Man Show on Tap: A Guide to All Things Beer, by Ray James

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The Man Show on Tap: A Guide to All Things Beer, by Ray James

Finally -- Everything All Self-Respecting Men Must Know About Beer & Life
Beer -- man's other best friend. The kind of best friend you don't have to walk, and only occasionally have to clean up after. Written with provocative, unpretentious wit, The Man Show On Tap: A Guide to All Things Beer examines beer as it relates to all the situations men encounter in their daily lives. In addition to practical tips like opening a bottle without a church key or concocting a surefire hangover cure, Man Show veteran Ray James includes party survival tips, drinking games, the truth according to the Juggies, Man-o-vations, mating rituals, and more.
With its unapologetic look at all things manly, The Man Show On Tap is a hilarious examination of America's favorite social lubricant from the producers of the lewdest, rudest, and sickest show on television. Ziggy Sokky, Ziggy Sokky, Hoy, Hoy, Hoy!

  • Sales Rank: #5246190 in Books
  • Published on: 2004-11-01
  • Released on: 2004-11-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.25" h x .50" w x 5.50" l, .57 pounds
  • Binding: Paperback
  • 192 pages
Features
  • ISBN13: 9780689873713
  • Condition: New
  • Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

From Publishers Weekly
Comedy Central’s The Man Show, which ran from 1999 until early 2004, was an unabashed champion of huge steins of beer, skimpily-dressed women on trampolines, and oompa-loompa bands, doling out crass humor that drew millions of viewers. Lead writer James shares a compendium of deep debates such as bottle vs. can, and the best hangover cure. They’re enjoyable tidbits, branded with the same fearless humor that marked the series. But structurally, the book is a hash, leaping from ruminations on Spuds Mackenzie to how to open your beer with your teeth, without much of a care for cohesion. The stream-of-consciousness quipping, moving along like a drunken conversation, is fine for short-burst reading, but readers seeking a comprehensive look at "man’s other best friend" will get only a quick buzz.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Excerpt. © Reprinted by permission. All rights reserved.
Chapter 1

A great man once said the world can be divided into two groups: beer drinkers and everybody else. He said it when he was writing the The Man Show on Tap: A Guide to All Things Beer and needed something bold for his introduction. He later thought it over and realized it was kind of cliché and stupid, so he decided to bury that observation in the body of the book near a picture of a girl with huge tits.

Which brings us to the beer lover's lifestyle. Beer drinkers the world over share a common love for their personal brew that affects the way they drink, think, dress, and talk. The next several pages will help you choose the path of how to live your life around beer. After that, you're on your own.

BOTTLE V. CAN

In life, beer drinkers may face many choices, but one of the first forks you'll come to in the road is whether to drink your brew from a bottle or a can. Maybe the choice has already been made for you, because your brand comes in a can, but not in a bottle. But let's say, as a hypothetical, you walk into the store and they have your brand in both bottles and cans. You're going to have to choose one or the other, and which one you go with could say a lot about you. Here are some criteria that may help you decide which camp you fall in.

Weight

The typical bottle and can of beer carry about 12 ounces, so they're even there. But
bottles are heavier than cans. They take up more room. You can't fit as many in the cooler, or in the trunk of your Civic for that matter. On the other hand, the increased heft of a glass bottle just may give you a little more "Sez me!" in a bar fight. But then again if, like John Belushi's Bluto in Animal House, you're prone to smashing your beer
container against your head, you may want to go with the can.

Round goes to: Too close to call.

Beer Delivery Rate

Unless you're one of those freaky beer "deep throaters" who can pour beer directly into your stomach, the BDR round goes to the can. You can shotgun a can of beer. It forces you to drink faster. With bottles, beer creates a vacuum at the top when you invert them, slowing your guzzle speed. There is no vacuum when you pop the top on that shotgun, just Newton's law of gravity doing its thing to get you wasted. Want to guzzle even faster from the can? Make a bigger hole in the side.

But bottle enthusiasts have turned to high technology to address this problem and created the Big Bertha of beer delivery, the 40-ounce, which has a wide enough spout to offset the bottle's "vacuum drag coefficient" and even take on the latest in can technology -- the massive shotgunned 24-ounce can.

Round goes to: Tie.

Empties

A throne that faces the TV and is made entirely of Lone Star bottles would be a dangerous piece of furniture for even the most nimble pledge. However, with a little creativity and a hot glue gun, such a thing made of Olympia cans would be a handy and attractive addition to any fraternity.
But if you're planning on filling your empties with gasoline and rags to burn down the ROTC building, the bottle is your only real choice here.

Round goes to: Even.

Taste

Some say canned beer takes on the flavor of the can, whereas bottled beer remains untainted. Seems plausible, yet that same guy goes to the ballpark and drinks bottled beer out of a wax cup.

Round goes to: Bottle may win on taste, but gets disqualified for wax cup. No decided advantage.

Cost

Here canned beer seems to have a slight edge. Some of the premium, and thus more expensive, beers aren't even available in cans, which should give cans greater popularity. But thanks to the combined efforts Dixie beer's long-neck bottle and the great and drunken state of Louisiana, bottled beer consumption balances out all the canned beer sucked down by the rest of the nation.

Round goes to: Dead heat.

Tiebreaker -- The TV Toss

In America we have freedom of speech. And what better way to voice your disgust and rage than to hurl your empty at the offending television? Here the advantage overwhelmingly goes to the can. With an empty beer can in his hand, the voiceless American TV viewer becomes like Elvis with a .38, blowing away the tube of any TV that pissed him off. If you've never taken the time to throw an empty at a TV, you owe it to yourself to experience one of life's simplest joys. It's like throwing rotten fruit at a bad singer...only it's an empty beer can and the State of the Union address.
Throw a bottle at the TV? You'd get a shower of glass that, even if it doesn't break the TV, shatters all over the floor. Nice going, dummy. Now making you have to wear shoes when you get off the couch to change the channel. Let's be honest, if you had a remote, you would have just changed the channel to begin with.

The Decision: Can wins.

However, if you're watching the TV at a bar, and you're planning on never coming back anyway...

LIGHT BEER V. DARK BEER

The light beer/dark beer debate -- it's a quandary that has vexed mankind going all the way back to the 1970s.

Here's the deal. Ready? All light beers suck. There, I've said it. They're all bad, watered down versions of the real thing. Light beer has one purpose: To keep our women from getting fat. But why do guys drink it? Well, it's kind of like what happened with milk...

You started out getting delicious, whole-fat milk right from your mother's loving breast. Nothing could be more nourishing. So, like any guy, you ride that train as long as she'll let you. But as some men approach college age, they apparently stop nursing and start counting calories. They cut back on the blessed, white gazonga gravy, going from whole-fat to low fat, to 2% and finally the dreaded, tasteless nonfat. Eventually they've got nothing left to pour on their Cocoa Puffs but a cloudy milk-water. Pathetic.

Everyone knows at least one guy who cares more about his appearance than the taste of his beer. And while we all know that such a "man" can never be trusted, at least the silvery label on his brew makes him easy to spot. Let's face it, those "light beer" guys and their "abs" are a definite buzz kill.

The jolly beer gut was once considered an achievement -- proof of one's fulfilling the American Dream. But the growing "light beer" faction is trying to turn your tubby testament to a life of luxury into some nonsense about you being "out of shape" or "dangerously close to a heart attack."

rdTruth be told, that bottle of light suds is a "gateway" beer to the more sinister stuff, low-carb and no-carb beers. Of course, the only reason for a guy to drink no-carb beer is because it doesn't stain when he spills it on his dress.

The 40:

It's Not Just for Black Guys Anymore

Malt liquor is essentially an extra-strong American light lager. Also, in some parts of the United States, any beer over a certain strength must legally be called "malt liquor." It's a "bang for your buck" drink that for years has mainly been marketed toward, and favored by, African Americans.

At more than 7.5% alcohol, malt liquor is to beer what fortified wine is to Kendall-Jackson. Crap. But crap that will put wings on your feet. Whether it's St. Ides, Olde English, Schlitz, or the holy mother of them all, Colt 45, this stuff has one purpose -- to knock you on your ass and fuck your girlfriend.

Maybe it's a result of marketing, or maybe there's something cultural going on, but white guys have traditionally not been big buyers of malt liquor. Instead, they'll have a few beers after work, to relax or whatever. But black guys drink malt liquor to get the party started. Let's not bullshit each other. For years, the only white guys who drank this stuff were suburban teens who didn't know that drinking a six-pack of Olde English talls would make them wake up the next day in a puddle of their own piss.

But with hip-hop supplanting rock-'n'-roll as the predominant soundtrack to our cultural demise, something has happened to malt liquor. Its endless appearance in rap videos has made the mythical "40" a cool thing for white guys in search of an identity to latch on to.

The cultural divide was finally bridged when drinking malt liquor was made secondary to spraying it on a hot video vixen. Here at last, whites and blacks could move one step closer to Martin Luther King's dream. You no longer have to drink this swill to enjoy it. Because white or black, we all love wet tits.

Light of My Life

There comes a time in any avid beer drinker's life that he must decide: "What's the right lighted beer sign for my basement?"

Well, that really depends. Is this basement the slowly evolving fulfillment of your lifelong dream to have your very own bar -- with a real keg, fancy coasters, and a pinball machine -- in your home? Or is this basement just the place where you'll sleep until your parents die and you finally get the house?

Well sir, if your basement is the former, then only one lighted beer sign will do: Hamm's.

The best Hamm's beer signs paid homage to the great outdoors -- like a Schmidt's beer can. But unlike the Schmidt's can, which might feature a hunter's wet dream of elk in the woods or pheasants taking wing, the greatest Hamm's beer signs had a backlit wildlife scene with water that flowed for eternity, thanks to a motorized scroll of "water."

For generations Men have sat drinking in local joints, mesmerized by never-ending frosty mountain streams flowing into eternity, thanks to that gently cycling, endless scroll. The sign's soft azure glow forever beckons Men to the land of sky blue waters, a mythic place that exists somewhere beyond the smoky tavern, where we saw our first Hamm's beer sign, and beyond the oasis of our own lovingly converted basement bars.

But if your basement is simply where you're bunking down till your parents croak and you sell everything off before your siblings come around, then just stick with the cheerleader poster you've already put on the wall. Because even you can't jack off to a beer sign.

Beer Thirty

There are as many beers out there as there are ways to enjoy them. Below are some of the many reasons you might want to guzzle a beer.

You're thirsty.

Because it's hot out.

You love the taste.

To make it easier to talk to women.

Your buddy's buying.

To go with your pizza.

To celebrate closing a big deal.

You've just roped your first steer.

You've just made your first bust.

To try to fit in at the company picnic.

You've just lost your virginity.

It's on sale.

You need courage.

You need a reward.

Your team won.

Your team lost.

Because you don't give a shit about sports.

You want to get drunk.

You got dumped.

You got fired.

Because you're still standing.

Because drinking Windex gives you a tummyache.

Because that asshole over there keeps glaring at you.

You really dig urinating.

Because all women are crazy (or "stupid," "evil," etc.).

Because empties are easier to hide from the wife.

You want to have some vomit for the sidewalk-painting contest
later that night.

Because Jimi's still up there jammin' in heaven.

Because tonight, anyone who has ever wronged you will taste your revenge.

Because the cops are right behind you.

It helps wash down the pills.

Because it stops the voices.

You've just killed your cellmate.

You need to sign your name in some snow.

You've just gotten a tattoo that reads "Mother"...on your penis.

Because you're with friends.

Fashion

A few words about Beer and Fashion:

Generally, mixing anything "beer" with your attire is a "don't." Sure, that beer logo looks great on the many bottles and cans you've got piled out behind the trailer, but that doesn't mean you need to be a billboard for your brand. Unless you drive the big semi that brings the precious brew to the Safeway, you shouldn't wear the logo on your body. That's why a guy who's rockin' the Miller High Life trucker cap is really no cooler than the guy who's sporting a tiny wet spot of his favorite beer's remnants on the crotch of his pants.

But some guys have a love for beer and a complete lack of irony that compels them to sport their favorite brand of suds on their clothes. They just can't get enough of Stroh's T-shirts and Busch hats. Incidentally, it has been scientifically proven that any guy who wears two or more pieces of beer-related clothing will have mysterious stains on at least one of them.

Yet a strange phenomenon happens when those very same clothes are worn on a chick. Suddenly those cheesy vestments take on a whole new dimension. They're hot! Something about a cute girl in a goofy knit hat made out of Old Style cans, who's wearing a pair of tiny cut-offs held up by a Buckhorn belt buckle, screams "vixen." She's the one who at some point during the concert is going to be on a guy's shoulders with her top off, cheering the band on with her hands in the air while her perfect tits bounce to the beat of the drums.

Too bad she's with that dipshit in the Budweiser T-shirt.

The Beer Lover's Hat

There isn't a child over the age of six who doesn't know that the hardhat with two beer cans strapped to the sides is the pinnacle of American beerphilia.

If you think about it, unless you're bald or it's raining out, there's no real reason to wear a hat in the summertime. But American ingenuity and mastery of technology has at last created headwear with a purpose -- to double your intake of an intoxicant. It's just the kind of thing you might hear about in a beer-related death...and it makes a great gift.

Though everyone has seen the double-barreled beer hat, most guys don't have the balls to actually wear one. It takes a rare breed of Man to pull that off. You know the type. He's a dignified, go-his-own-way kind of guy who says, "Fuck it!" a lot. You'll usually find him dancing shirtless in the circle track bleachers, as the sun scorches his budding breasts.

A self-appointed mascot, he entertains the crowd. "I got a head on my beer, and beer on my head!" he repeatedly bellows. Later, his quip will become an unintelligible sputter interspersed with hiccups that dangerously approach vomiting, but it will still be every bit as funny to him.

Sometime around the third race he pulls out all the stops, slipping on a cardboard tray soaked with leftover ketchup and falling, teeth first, into the railing. And yes, some people laugh. The rest simply cheer.

And when the race is over, he heads back to his pickup with the picture of Calvin pissing on a Ford logo in the rear window. But this beer-swilling showman's work is never done. He's going out to a dinner tonight, which means a stop by the house for his "Pull My Finger" tank top.

MAN-O-VATION:

Disability Beer Hat

Although everyone's seen the novelty beer hat with two cans of beer strapped to the sides, you may not be familiar with the Disability Beer Hat for men with no arms, the only beer-assist hat sanctioned by Medicare.

There are men all over who, through no fault of their own, have no arms. Some lost them fighting for this country, some lost them in industrial accidents, while
others lost them when Green Bay didn't cover the spread. But these men need beer too. And this is the hat that gets the job done. It's constructed almost exactly like the novelty hat but uses American Medical Association (AMA) approved Velcro straps and surgical tubing, rather than cheap plastic or PVC.

For only $480, and the additional cost of one outpatient appointment for a fitting, most insurance companies and the VA will cover up to 85 percent of the cost.

If you know a man with no arms, reach out to him and let him know about the Disability Beer Hat.

* Also available: a model that works for men with arms but no hands. *


"Dude...That's My Brand"

There are men out there who develop a profound loyalty to their beer. Like a baseball team, a TV show, or any cult that's worth a shit, certain brands of beer have legions of devoted followers. They're the "that's my brand" faithful who can be counted on to offer colorful testimonials such as, "Nothing else will do," or "I'd rather go without than switch...and that's why it's in my truck, Officer."

Loyalty comes in many stripes. There are Coors drinkers. Bud drinkers. PBR guys who've been drinking it for thirty years. I'm a huge believer in having a total, unequivocal loyalty to one brand...I've had it several times.

Why do guys have brand loyalty? Because loyalty gives guys a sense of "belonging." This quasi-religious sense of team spirit bonds men, making it possible to build
civilizations, raise the flag at Iwo Jima, and play "who farted?" for an entire three-day camping trip. Beer loyalty is all about belonging to something -- and not something phony like a gym. These guys would never stoop so low as to belong to evil gyms, with their unholy high prices, their blasphemous one-year-no-money-back commitment, and their fucking ab crunchers.

Similar to religion, brand loyalty gives some folks both comfort and support through life's troublesome times. They've seen the power of their loyalty, for it moves in mysterious ways. Like when they're so smashed they can barely speak, yet their brand's name is the one word their bartender can still make out.

Brand loyalty can be determined by a lot of things: price, availability, and price. It's certainly not because of taste. There's nothing remotely tasteful about the homeless guy who's halfway through a twelve-pack of Old Milwaukee piss. The closest he could come to "taste" is to finish the rest of them and barf you a Jackson Pollack. He bought that cheap swill for the same reason you bought it in college, because he could afford it. He's not homeless, he's frat-houseless. His brand of loyalty was determined by cost.

But there are times when brand loyalty can be shortsighted. Before you swear your life over to MGD or Bud, remember all those guys out there who once pledged their allegiance to Blatz beer. They're like Brooklyn after the Dodgers left for Los Angeles. The town was never the same after it lost its beloved team. Like no town ever had, Brooklyn loved their "bums" who rode the subway and broke the color barrier with Jackie Robinson. And still the Dodgers left -- forever. Slow death.

So, in the words of another Robinson, Smokey, "You better shop around." Next time you're out having a beer at a bar, picking up a six-pack or stealing a keg, grab just one bottle of something you've never tried before. Because, trite as it seems, beers are like women. You owe it to yourself to experience as many as you can before you decide on "the One."

Here's another reason. Are you ready? You should hold off on claiming a brand loyalty because it could be, it just might be -- if there's a God in Heaven -- it just might be that you're the lucky son of a bitch who, like Hefner, Casanova, or the non-white players in the NBA, never, ever has to settle on just one.

With beer, we have the best odds of being perpetual playboys, going from one sweet, young, brand-new beer to another -- no questions asked.

We are Men because we dare to dream.

Sadly, corporate brewers, the Church, and your woman have prevented you from becoming the Mack Daddy of beer.

You are not the Chosen One.

You've Found Your Beer When...

Finding the right brand to remain loyal to can be difficult. Some romantics will say, "Don't worry, you'll just know." Well, the rest of us can't be so sure. This list will help you determine if you've found the beer you'll be with for the rest of your life.

You've found your beer when:

You come home every night and it's waiting for you.

You can spend hours with it and not even notice the time.

You don't have to work very hard to get its top off.

It doesn't mind you spending your time together sitting on the couch, watching TV.

Its "born on" date doesn't go back too far.

Even though you know maybe hundreds of other guys have had it, you can't stop going back to it.

It doesn't break your balls if you haven't seen it all weekend.

It doesn't matter if it's light or dark, color is no longer important.

It doesn't bother you while you're taking a shit.

It doesn't fuck with your head while you're trying to drive.

You wake up in the morning and it's there, right next to you, spread out on your sheets.

And finally, you know you're going to be with that beer for the rest of your life when...it says, "I'm pregnant."

Copyright © 2004 by Ray James

Most helpful customer reviews

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Whew! What's that smell?
By Lew Bryson
Wow, what a rank book. Wildly disorganized, stupidly insulting, this book might even be able to damage the reputation of The Man Show...which was at least funny. That's this book's greatest flaw: it's crude, it's sexist, it's forced, it's derivative, and it's not even funny. The Publisher's Weekly review above is, if anything, too kind.

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Wasn't expecting a masterpiece of American literature here
By Dr.Smith
Wasn't expecting a masterpiece of American literature here; it's the Man Show. Wanted it to add to my bar area for viewing. It has done just that. Good price so I really couldn't go wrong

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