Weitere Bücher, die Sie mögen werden

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  Abbott and Costello: New Press...

  Bud Abbott, Lou Costello

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  Bud has hired a publicity man to advance Costello's career. Costello knows a Turkish civilian who hasn't been drafted, his name is Hassan Ben Drafted. The cast does a play titled, The Two (dirty) Bedouins.

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  Jeff Dunham: Controlled Chaos...

  Jeff Dunham

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  Ventriloquist and comic Jeff Dunham takes to the stage to provide fresh comedic material with his classic puppets; Walter, Peanut, Jose Jalapeño and Achmed, as well as with two never-before-seen characters with their own unique quirks.

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  The Crazy Brilliant...

  Liam Ben Blackmore

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  Is Aaron Lewis an absolute genius or batsh!t crazy?  
    
  Imagine a spectrum where on one side is pure genius, and the other side is utter lunacy. Where would you place Aaron Lewis on this genius-lunatic spectrum?  
    
  In this book, the country boy and Staind front man explores:  
  * Gun rights versus gun control.  
  * How Americans need to wake up.  
  * President Barack Obama versus President Donald Trump.  
  * Sports professionals taking a knee during the national anthem.  
  * The Democratic Party versus the Republican Party.  
  * Systemic racism, civil rights, and discrimination. 
  * Confederate monuments.  
  * Covid-19 vaccine mandates.   
  * Lecherous, corrupt politicians.  
  * Loving America. 
  * Being silenced and canceled.  
  * The propaganda machine.  
  * Turning over the Roe V Wade abortion ruling.  
  * Sex education in schools.  
  * Gender identity.  
  * Ending mass shootings at schools.  
  * Facts versus disinformation.  
  * The January 6 insurrection.  
  * China manufacturing fentanyl.  
  Is Aaron Lewis crazy, brilliant, or both? Read this book, and figure it out!

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  Institutio Oratoria (On the...

  Marcus Fabius Quintilianus

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  Marcus Fabius Quintilianus was of Spanish origin, being born about 35 A.D. at Calagurris. At Rome he met with great success as a teacher and was the first rhetorician to set up a genuine public school and to receive a salary from the State. He left behind him a treatise "On the causes of the decadence of Roman oratory" (De causis corruptae eloquentiae), some speeches and his magnum opus, the only one to survive to our days. His Institutio Oratoria, despite the fact that much of it is highly technical, has still much that is of interest to-day, even for those who care little for the history of rhetoric. (Summary adapted from the translator's preface) This first volume covers books 1 to 3.

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  Brash Boys Club

  Brash Boys Club

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  Brash Boys Club, one-night of stand-up, gay comedy featuring three diverse comedians each doing a half-hour set.

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  Dance and the Music of J S Bach

  Meredith Little, Natalie Jenne

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  A unique study of dance forms and rhythms in the Baroque composer’s repertoire. 
   
  Stylized dance music and music based on dance rhythms pervade Bach’s compositions. Although the music of this very special genre has long been a part of every serious musician’s repertoire, little has been written about it. 
   
  The original edition of this book addressed works that bore the names of dances—a considerable corpus. In this expanded version of their practical and insightful study, Meredith Little and Natalie Jenne apply the same principles to the study of a great number of Bach’s works that use identifiable dance rhythms but do not bear dance-specific titles. 
   
  Part I describes French dance practices in the cities and courts most familiar to Bach. The terminology and analytical tools necessary for discussing dance music of Bach’s time are laid out. Part II presents the dance forms that Bach used, annotating all of his named dances. Little and Jenne draw on choreographies, harmony, theorists’ writings, and the music of many seventeenth- and eighteenth-century composers in order to arrive at a model for each dance type. 
   
  Additionally, in Appendix A all of Bach’s named dances are listed in convenient tabular form; included are the BWV number for each piece, the date of composition, the larger work in which it appears, the instrumentation, and the meter. Appendix B supplies the same data for pieces recognizable as dance types but not named as such. 
   
  More than ever, this book will stimulate both the musical scholar and the performer with a new perspective at the rhythmic workings of Bach’s remarkable repertoire of dance-based music.

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