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Pathology involving the skull base and adjacent soft tissues present a challenge to all physicians dealing with the anatomy of this region. The goal of Skull Base Surgery: Basic Techniques is to provide the surgeon with a descriptive, step by step, pictorial analysis of skull base surgical techniques. Emphasis is placed on the most commonly used and applicable procedures that address the majority of the pathology encountered in standard practice. This beautifully illustrated text is directed to be the most useful for individuals new to these methods, surgical trainees and mid-level practitioners. Additionally, it's likely to be useful to physicians outside of otolaryngology and neurosurgery involved in the care of these patients. It provides a description of the key components of the medical management of these cases preoperatively and postoperatively so as to maximize the opportunity for successful outcomes. ... Read more

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In the summer of 1927, nineteen bands gathered for a recording session in Bristol, on the Tennessee-Virginia border, including some of the most influential names in American music—the Carter Family, Jimmie Rodgers, Ernest Stoneman and more. Organized by Ralph Peer for Victor records to capitalize on the popularity of “hillbilly” music, the Bristol sessions were a key moment in country music’s evolution. The musicians played a variety of styles largely endemic to the Appalachian region. Rather than attempting to record purely traditional sounds, however, Peer sought a combination of musical elements, an amalgam that would form the backbone of modern country music. The reverberations of the Bristol sessions are still felt today, yet their influence is widely misunderstood, and popular accounts of the event are more legend than history. These 19 essays offer an examination and reevaluation of the Bristol sessions—from their germination, to the actual sessions, to their place in history and their continuing influence. The first section discusses technological advances that resulted in the unmatched quality of the Bristol recordings. The second section chronicles the people and musical acts involved in the event. The third section gives first-hand accounts of the Bristol sessions, while the fourth presents musicological studies of two of the prominent acts. The final section details subsequent recording sessions in Bristol and nearby Johnson City, and explores the lasting local musical legacy. ... Read more

Customer Reviews (2)

Staying Within Limits.
The Birthplace of Country Music Was Not Nashville., September 10, 2006
Reviewer: Betty Burks (Knoxville, TN) - See all my reviews

In 1998, The U. S. Congress passed a resolution which declared Bristol, Tennessee, as making a "significant contribution to the development and commercial acceptance of country music." Actually, I had to learn from a fiction book written by Lee Smith that country music actually began in Bristol. It was a
revelation to me, even though Bristol is just north of my hometown, which is all bluegrass music. In my short amateur career as a singer here in my teens, I tried country only once, "Your Cheating Heart" on the Cas Walker t.v. show and was
not a hit. I did not look or sound like Dolly Parton. When I sang it at school dressed as a cowgirl holding my dad's guitar, the younger kids deemed me a star. I stayed with pop music on the local talent radio and t.v. shows and at teen time Saturday mornings at the Tennessee Theater, also broadcast over WROL.

Well, I did hear Tennessee Ernie Ford back in the Fifties and Dinah Shore, but this book informed me that he had been a deejay while ateenager at a Bristol radio station. Most gifted deejays start out on the air at an early age if they are blessed with a mature voice, and he was.

It was the 1927 Bristol sessions which started the world of country music. Now, how was I supposed to know that when I
wasn't alive back then? They were recording Appalachian ballads like the one about Frankie Silver. My favorite writer based most of her novels on these ballads, and I learned of the "Knoxville Girl" in her book, "If I Ever Return Again, Pretty Peggy-O." She also wrote one about Frankie Silver. My favorite ballad was She
Walks These Hills "In A Long Black Veil."

Jimmie Rodgers who sang about trains and railroads, not the Jimmie Rogers of pop music fame started in Bristol. As did many of the cross-over singers like Don Gibson (who was rude to me at the Fair where I fell hard for Lash LaRue), the Everly Brothers, Archie Campbell (Hee Haw fame) who hosted his own t.v. show in Knoxville, and the Carter family. Now, Dolly is the only star
we have left in this area. Blind Alfred Reed was a composer as well as fiddler, called the devil's instrument, and he performed at a clan meeting in Princeton for pay; he said, "they were better people then." You had to go to Bristol to record
hillbilly songs like Hank Williams' sad, sad tunes. Here in Knoxville, the black music of the 20s and 30s was recorded for a short time at one of the hotels. I did not know anything about that until a local historian mentioned it in passing in one of his weekly columns. East Tennessee is not a very progressive
place. We have no documented history until now. What I have learned about my hometown is from Jack Neely's books. This is
a well-documented account of an important contribution to society by a group of hillbilly performers from East Tennessee and Virginia.

Legends are hard to pin down!
You can tell if someone is a fan of "old time country music" if you say "Bristol Sessions" and a moment of awe and respect comes over them. (Give me my moment of hyperbole!). Everyone knows something about the session from an article here and a cd booklet there, but now we can find a number of authoratative articles in one volume. Each has something to offer, but what I found valuable was the insight given on the recording process of the day. The facts added to my enjoyment of the legend but did not take away my sense of "awe."
Anyone who has read Charles K. Wolfe's books or the books he has edited knows the high quality of scholarship found. This book is no exception.Highly recommended. ... Read more

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With new interest in poetry as a performative art, and with prewar experiments much in mind, the young poets of postwar America infused the stage with the rhythms and shocks of their poetry. These energies manifested themselves all at once, and through the decades have continued to grow and mutate, innovating a form of writing that defies boundaries of genre. THE KENNING ANTHOLOGY OF POETS THEATER: 1945-1985 documents the emergence, growth, and varied fortunes of the form over decades of American literary history, with a focus on key regional movements. The largest and most comprehensive anthology of its kind yet assembled, the volume collects classics, long out of print rarities and texts from unpublished manuscripts. Copiously annotated, it will be an indispensable reference for students of postwar American poetry and avant garde theater. Included are works by Jack Spicer, John Ashbery, Michael McClure, Diane di Prima, Amiri Baraka, Hannah Weiner, Barbara Guest, Sonia Sanchez, Theresa Hak Kyung Cha, Carla Harryman, Charles Bernstein, Leslie Scalapino, Kathy Acker, and many others. A unique feature of the book is its editors' notes even on works omitted but falling within the anthology's purview, including Pedro Pietri's The Masses Are Asses and Jessica Hagedorn's Tenement Lover. Erudite yet highly readable, the plays and prefatory matter offer a highly entertaining glimpse of the ways in which poets have used the theater to widen their audience, develop new techniques, or negotiate their aesthetic community's precepts and desires. In the process, some of the most mature and progressive work within and about the theater was produced, and is at last gathered in one place. ... Read more

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The book comprises two essays recovered by editor Joshua Hoeynck, from the Archive of Charles Olson at the Thomas J. Dodd Research Center at the University of Connecticut, and printed with the permission of the estate of Charles Olson and the Thomas J. Dodd Research Center. These essays are "The Principle of Measure in Composition by Field," and "Notes on Poetics (Toward Projective Verse II)" and together make for a significant contribution and addition to Olson's seminal essay, "Projective Verse," published in 1950. The book is particularly important in showing some relation of Olson's thinking to the philosophy of Alfred North Whitehead. The texts of Olson's essays are copyright 2010 by the University of Connecticut Libraries. The introduction is copyright 2010 by Joshua Hoeynck. ... Read more

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Purchase includes free access to book updates online and a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Roger Babson, Fitz Henry Lane, Charles Olson, Herb Pomeroy, Vincent Ferrini, Benjamin A. Smith Ii, Joshua Gates, Alexander Gordon Lyle, Henry Sargent, Abram Andrew, Howard Blackburn, Edmund A. Gann, Jessie Ralph, Alfred "Centennial" Johnson, Sylvester Ahola, Jeff Williams, Capt. Marty Welch. Excerpt:Abram Piatt Andrew Abram Piatt Andrew Jr. (February 12, 1873 June 3, 1936) was a United States Representative from Massachusetts . Biography Born in La Porte, Indiana , he attended the public schools and the Lawrenceville School . He graduated from Princeton College in 1893, was a member of the Harvard Graduate School of Arts and Sciences from 1893 to 1898, and pursued postgraduate studies in the Universities of Halle , Berlin , and Paris . He moved to Gloucester, Massachusetts , and was instructor and assistant professor of economics at Harvard University from 1900 to 1909. He was an expert assistant and editor of publications of the National Monetary Commission from 1908 to 1911, and Director of the United States Mint in 1909 and 1910. From 1910 to 1912 he was Assistant Secretary of the Treasury . He organized the American Field Service and in December 1914 sailed to France. He served in France continuously for four and a half years during the First World War (first with the French Army and later with the United States Army .) He was commissioned a major in the United States National Army in September 1917 and promoted to lieutenant colonel in September 1918. For his service he was awarded the Legion of Honor by the French Government and the Distinguished Service Medal by the American Army. Andrew was elected as a Republican to the Sixty-seventh United States Congress to fill the vacancy caused by the resignation of Willfred W. Lufkin ; he was reelected to the Sixty-eighth and to... ... Read more