Dj Money

Red beans and rice, trad jazz, and second lines are the Big Easy's calling cards, but beyond where the carriage rides take you is a city brimming with genre-defying music, transnational cuisine, and pockets of wild, artistic locals that challenge preconceived notions of what it means to be New Orleans. With a respectful nod to the traditional and a full embrace of the obscure, New Orleans: The Underground Guide is a resource for discovering the city as it really is -- as much brass bands and boas as it is bounce and bicycle tours. From a speakeasy in the Bywater neighborhood to the delightfully sketchy vibe of St. Roch Tavern, lead author Michael Patrick Welch uncovers an unexpected tableau of musicians, venues, and novel ways to pass the bon temps. Contents include but are not limited to: where to get naked, how to make the most of Mardi Gras according to banjo player Geoff Douville, what to order from the delicious Slavic menu at Siberia, where to find the New Orleans Giant Puppet Festival, how to catch a performance by the New Movement comedy troupe, where to rent a kayak, and how to get in on the "bed and beverage" experience at the Royal Street Inn.

Acclaimed music writer Nik Cohn’s love of hip-hop goes back to its beginnings, and his love of New Orleans even further, to when he passed through the Big Easy on tour with The Who and discovered a place with a magic that never failed to seize him. On the surface he’s the least likely candidate for a rap impresario. But with his signature charm and passion, he plunges headfirst into the wards, clubs, and projects of New Orleans, opening up a world closed to most outsiders: a journey into the heart of the hip-hop dream, and into larger question of racial identity in America. Written before Hurricane Katrina struck (and published here with an afterword that chronicles how Katrina altered the lives of those he met) Triksta now stands as an elegy to a city, its music, and its people.

FIELD & STREAM, America’s largest outdoor sports magazine, celebrates the outdoor experience with great stories, compelling photography, and sound advice while honoring the traditions hunters and fishermen have passed down for generations.

Over the course of the twentieth century, African Americans in New Orleans helped define the genres of jazz, rhythm and blues, soul, and funk. In recent decades, younger generations of New Orleanians have created a rich and dynamic local rap scene, which has revolved around a dance-oriented style called "bounce." Hip-hop has been the latest conduit for a "New Orleans sound" that lies at the heart of many of the city's best-known contributions to earlier popular music genres. Bounce, while globally connected and constantly evolving, reflects an enduring cultural continuity that reaches back and builds on the city's rich musical and cultural traditions. In this book, the popular music scholar and filmmaker Matt Miller explores the ways in which participants in New Orleans's hip-hop scene have collectively established, contested, and revised a distinctive style of rap that exists at the intersection of deeply rooted vernacular music traditions and the modern, globalized economy of commercial popular music. Like other forms of grassroots expressive culture in the city, New Orleans rap is a site of intense aesthetic and economic competition that reflects the creativity and resilience of the city's poor and working-class African Americans.

FIELD & STREAM, America’s largest outdoor sports magazine, celebrates the outdoor experience with great stories, compelling photography, and sound advice while honoring the traditions hunters and fishermen have passed down for generations.

Widespread distribution of recorded music via digital networks affects more than just business models and marketing strategies; it also alters the way we understand recordings, scenes and histories of popular music culture. This Is Not a Remix uncovers the analog roots of digital practices and brings the long history of copies and piracy into contact with contemporary controversies about the reproduction, use and circulation of recordings on the internet. Borschke examines the innovations that have sprung from the use of recording formats in grassroots music scenes, from the vinyl, tape and acetate that early disco DJs used to create remixes to the mp3 blogs and vinyl revivalists of the 21st century. This is Not A Remix challenges claims that 'remix culture' is a substantially new set of innovations and highlights the continuities and contradictions of the Internet era. Through an historical focus on copy as a property and practice, This Is Not a Remix focuses on questions about the materiality of media, its use and the aesthetic dimensions of reproduction and circulation in digital networks. Through a close look at sometimes illicit forms of composition-including remixes, edits, mashup, bootlegs and playlists-Borschke ponders how and why ideals of authenticity persist in networked cultures where copies and copying are ubiquitous and seemingly at odds with romantic constructions of authorship. By teasing out unspoken assumptions about media and culture, this book offers fresh perspectives on the cultural politics of intellectual property in the digital era and poses questions about the promises, possibilities and challenges of network visibility and mobility.

The Roots of Modern Hypnosis is a compendium of three classic volumes on hypnosis, written by some of its most important practitioners. Read in sequence, these books provide a fascinating explication of the history of hypnosis, from the animal magnetism, mesmerism, and universal fluid of Franz Anton Mesmer as utilized by Dr. James Esdaile in his surgical facilities in India, to the First Modern (1961) International Congress on Hypnosis in New York City. The three texts contained in The Roots of Modern Hypnosis are: Hypnosis in Medicine and Surgery (originally entitled Mesmerism in India), by James Esdaile, M.D. The book contains an introduction and Supplemental Reports on Hypnoanesthesia by William S. Kroger, M.D. The original text was published in 1850; a revised edition, containing Dr. Krogers introduction and notes, was published in 1957 by The Institute for Research in Hypnosis Publication Society and The Julian Press, Inc. The Fundamental Principles of Hypnosis (originally entitled The Law of Suggestion) by Stanley L. Krebs, Ph.D., published in 1906. The work was revised by Henry Guze, Ph.D., and republished in 1957, with a new introduction by Milton V. Kline, Ph.D., by The Institute for Research in Hypnosis Publication Society and The Julian Press, Inc. The Nature of Hypnosis: Transactions of the 1961 [First Modern] International Congress on Hypnosis, edited and with an introduction by Milton V. Kline, Ph.D., Director of The Institute for Research in Hypnosis and Psychotherapy, and a Foreword by Lewis Wolberg, M.D., of The Postgraduate Center for Psychotherapy. The book was jointly published by the Institute and the Center. Milton V. Kline, Ph.D., Director of The Institute for Research in Hypnosis and Psychotherapy, and of The Institute for Research in Hypnosis Publication Society, conceived the idea of publishing the current edition of each of these texts under a single title, The Roots of Modern Hypnosis. Dr. Kline has been widely acknowledged as one of the foremost experts on medical, psychological, clinical, therapeutic and experimental hypnotherapy and hypnoanalysis, with more than 50 years of experience in using, teaching and conducting research in hypnosis. His recognition and honors have been worldwide. Hypnosis in Medicine and Surgery by James Esdaile, M.D. James Esdaile, M.D., was a young surgeon who was put in charge of a hospital for paupers and criminals in Hooghly, India, and then in charge of a medical facility in Calcutta, in the 1840s. While in India, he made some of the most significant contributions to the history and evolution of hypnosis as a technique for pain control since it was discovered by Franz Anton Mesmer, circa 1775. In addition, despite the conditions under which he worked (heat, lack of proper sanitation, etc.), Dr. Esdaile proved conclusively that hypnosis was a reliable and relatively risk-free method for inducing deep anesthesia under which surgical operations could take place. While in India, Dr. Esdaile performed approximately 300 major operations, as well as many more minor procedures, on patients under the Mesmeric trance. Among the cases which he treated were the removal of tumors from even the most sensitive parts of the body; the amputation of legs, arms and breasts; the extraction of teeth; the repair of bent limbs; and the cure of headaches, colic, eye inflammations, convulsions and nerve pain. In some cases, Dr. Esdaile was able to hypnotize his patients so deeply that their pupils failed to contract even when exposed to bright sunlight. As Dr. Kroger points out in his introduction to the revised edition of Hypnosis in Medicine and Surgery, one of the most important aspects of Dr. Esdailes work involves the induction of an extraordinarily deep state of hypnosi