'Will you write in my album?' Many Romantic poets were asked this question by women who collected contributions in their manuscript books. Those who obliged included Byron, Scott, Wordsworth, and Lamb, but also Felicia Hemans, Amelia Opie, and Sara Coleridge. Album Verses and Romantic Literary Culture presents the first critical and cultural history of this forgotten phenomenon. It asks a series of questions. Where did 1820s 'albo-mania' come from, and why was it satirized as a women's 'mania'? What was the relation between visitors' books associated with great institutions and country houses, personal albums belonging to individuals, and the poetry written in both? What caused albums' re-gendering from earlier friendship books kept by male students and gentlemen on the Grand Tour to a 'feminized' practice identified mainly with young women? When albums were central to women's culture, why were so many published album poems by men? How did amateur and professional poets engage differently with albums? What does album culture's privileging of 'original poetry' have to say about attitudes towards creativity and poetic practice in the age of print? This volume recovers a distinctive subgenre of occasional poetry composed to be read in manuscript, with its own characteristic formal features, conventions, themes, and cultural significance. Unique albums examined include that kept at the Grande Chartreuse, those owned by Regency socialite Lady Sarah Jersey, and those kept by Lake poets' daughters. As Album Verses and Romantic Literary Culture shows, album poetry reflects changing attitudes to identity, gender, class, politics, poetry, family dynamics, and social relations in the Romantic period.

The Beatles' Second Album runs only 22 minutes, with just 11 songs--many of which the group didn't write. Despite all that, the album personifies the Beatles: the world's greatest rock'n'roll band, according to well-known rock'n'roll critic and author Dave Marsh. With its overload of rock'n'roll, R&B, and early soul influence, including "Roll Over Beethoven," and "Long Tall Sally", The Beatles' Second Album - the book and the album - offers a great vantage point from which to see the group's enormous impact on pop music and culture. Marsh breaks new ground by focusing on the Beatles' US recordings and how they evolved from British releases at a time when the two nations' approaches to rock'n'roll production were vastly different.

Evelyn Karet's in-depth study of the Antonio II Badile Album - the earliest known example of an art collection pasted onto the pages of a book - is both focused and broad in its appeal to those interested in the early modern era. The provenance of the album is traced from its assemblage to the seventeenth-century collection of Conte Lodovico Moscardo to its dismantling by the dealer Francis Matthiesen in the 1950s, establishing that the volume conserved in the Frits Lugt Collection is not an original but a replica produced by Matthiesen. Although Antonio II must be celebrated as the collector of the drawings, new paleographic analysis has identified the actual compiler of the album after Antonio?s death providing a terminus post quem in the late 1530s or early 1540s. Karet enlarges the focus from the album itself to the historic tradition of collecting drawings in northern Italy in the early modern era before Vasari, for which the album provides a new point of reference. Throughout the book, Karet discusses the Badile family, examines the individual drawings in the book, investigates the contacts between artists and humanists, their rich, diverse collections and the humanist mind-set that fostered the appreciation of drawings. She explores notable early drawing collections in northern Italy and the role of northern Italy as a center of collection in the sixteenth and seventeenth centuries. The book concludes with two appendices: a reconstruction of the original album, including a discussion of the reconstruction process, suggestions about what the album originally looked like, and a page-by-page guide to its contents; and a detailed analysis of Francis Matthiesen's career. This book opens up new areas of inquiry into an overlooked subject.

AC/DC have reigned over rock 'n' roll for almost four decades. Their signature power chord rock was the sonic standard bearer of the genre they pioneered, summarised in Rolling Stone's declaration that they 'are one of the top hard rock bands in history'. The group has transcended their Australian roots to become a global phenomenon. Their albums consistently go platinum and they have earned their reputation as one of the best bands on the planet.The band's live arsenal includes 'It's a Long Way to the Top (If you want to Rock 'n 'Roll); 'Highway to Hell and 'You Shook Me All Night Long' and their influence is felt today as strongly as ever. 2008's Black Ice sold an astonishing more than 1.5 million copies in its first week, and would go on to sell seven million copies worldwide, spending several weeks on the top of the Billboard Top 200. In November 2012, Live at River Plate was released - the band's first live album for 20 years.Featuring exclusive interviews with producers and engineers, AC/DC in the Studio is the definitive account of the making of the greatest hard rock anthems of all time. Every album is featured in incredible detail, from 1975's TNT all the way to 2008 and Black Ice.

The first study of album-making in the Ottoman empire during the seventeenth century, demonstrating the period’s experimentation, eclecticism, and global outlook The Album of the World Emperor examines an extraordinary piece of art: an album of paintings, drawings, calligraphy, and European prints compiled for the Ottoman sultan Ahmed I (r. 1603–17) by his courtier Kalender Paşa (d. 1616). In this detailed study of one of the most important works of seventeenth-century Ottoman art, Emine Fetvacı uses the album to explore questions of style, iconography, foreign inspiration, and the very meaning of the visual arts in the Islamic world. The album’s thirty-two folios feature artworks that range from intricate paper cutouts to the earliest examples of Islamic genre painting, and contents as eclectic as Persian and Persian-influenced calligraphy, studies of men and women of different ethnicities and backgrounds, depictions of popular entertainment and urban life, and European prints depicting Christ on the cross that in turn served as models for apocalyptic Ottoman paintings. Through the album, Fetvacı sheds light on imperial ideals as well as relationships between court life and popular culture, and shows that the boundaries between Ottoman art and the art of Iran and Western Europe were much more porous than has been assumed. Rather than perpetuating the established Ottoman idiom of the sixteenth century, the album shows that this was a time of openness to new models, outside sources, and fresh forms of expression. Beautifully illustrated and featuring all the folios of the original seventy-page album, The Album of the World Emperor revives a neglected yet significant artwork to demonstrate the distinctive aesthetic innovations of the Ottoman court.

The rise of Ruby on Rails has signified a huge shift in how we build web applications today; it is a fantastic framework with a growing community. There is, however, space for another such framework that integrates seamlessly with Java. Thousands of companies have invested in Java, and these same companies are losing out on the benefits of a Rails–like framework. Enter Grails. Grails is not just a Rails clone. It aims to provide a Rails–like environment that is more familiar to Java developers and employs idioms that Java developers are comfortable using, making the adjustment in mentality to a dynamic framework less of a jump. The concepts within Grails, like interceptors, tag libs, and Groovy Server Pages (GSP), make those in the Java community feel right at home. Grails' foundation is on solid open source technologies such as Spring, Hibernate, and SiteMesh, which gives it even more potential in the Java space: Spring provides powerful inversion of control and MVC, Hibernate brings a stable, mature object relational mapping technology with the ability to integrate with legacy systems, and SiteMesh handles flexible layout control and page decoration. Grails complements these with additional features that take advantage of the coding–by–convention paradigm such as dynamic tag libraries, Grails object relational mapping, Groovy Server Pages, and scaffolding. Graeme Rocher, Grails lead and founder, and Jeff Brown bring you completely up–to–date with their authoritative and fully comprehensive guide to the Grails framework. You'll get to know all the core features, services, and Grails extensions via plug–ins, and understand the roles that Groovy and Grails are playing in the changing Web.

Canons are central to our understanding of our culture, and yet in the last thirty years there has been much conflict and uncertainty created by the idea of the canon. In essence, the canon comprises the works and artists that are widely accepted to be the greatest in their field. Yet such an apparently simple construct embodies a complicated web of values and mechanisms. Canons are also inherently elitist; however, Carys Wyn Jones here explores the emerging reflections of values, terms and mechanisms from the canons of Western literature and classical music in the reception of rock music. Jones examines the concept of the canon as theorized by scholars in the fields of literary criticism and musicology, before moving on to search for these canonical facets in the reception of rock music, as represented by ten albums: Bob Dylan's Highway 61 Revisited, The Beach Boys' Pet Sounds, The Beatles' Revolver, The Velvet Underground's The Velvet Underground & Nico, Van Morrison's Astral Weeks, Marvin Gaye's What's Going On, The Rolling Stones' Exile on Main St., Patti Smith's Horses, The Sex Pistols' Never Mind the Bollocks: Here's the Sex Pistols, and Nirvana's Nevermind. Jones concludes that in the reception of rock music we are not only trying to organize the past but also mediate the present, and any canon of rock music must now negotiate a far more pluralized culture and possibly accept a greater degree of change than has been evident in the canons of literature and classical music in the last two centuries.

Brush up on the next generation of MacBooks Learning how to use a new laptop can be as challenging as trying to decipher ancient hieroglyphics—but don't let that intimidate you! MacBook For Dummies, 6th Edition is your straightforward guide to all things MacBook, including setting up and configuring your laptop, navigating your way around the desktop, familiarizing yourself with the operating system, working with files and folders, using the Finder and Finder Tabs, working with Dashboard, Mission Control, and Spaces, searching your computer with Spotlight, surfing the Internet with Safari, syncing your data with iCloud, communicating with friends and family with email, Messages, and FaceTime, discovering new apps, and creating and printing documents. Additionally, this approachable, yet comprehensive text offers insight into working with Pages, Numbers, and Keynote, and more. MacBooks are incredibly popular for both their sleek, appealing hardware and easy to use, relevant software. Whether you're a PC convert or just want to brush up on the latest updates to the MacBook line, this helpful book gets you started in a snap. Get up and running on your new MacBook by starting with the basics Share and protect your data with insight regarding networking, sharing access and information, connecting with wireless devices, backing up and restoring your files, and troubleshooting common problems Satisfy your hunger for entertainment with iTunes, iPhoto, iMovie, and GarageBand Explore both your MacBook's hardware and software, including the latest operating system, iLife, and iWork versions MacBook For Dummies, 6th Edition takes you on a tour of your next-generation MacBook, offering you the information you need to get your new laptop up and running.