In Bass Madness, fishing authority Ken Schultz goes behind the scenes of the so-called “Super Bowl of bass fishing” to uncover what turned an unassuming sport into a full-blown sporting spectacle complete with athletes, spectators, TV cameras, and intense drama. This is an entertaining and enlightening guide to the history, legends, and lore of bass fishing’s greatest championship.

Cicadas are large, loud insects that spend their nymphal stages underground until they crawl out, climb a tree trunk, and emerge as winged insects. The adult insects emerge on a 1-year (annual) and 13- or 17-year (periodical) cadence. Yearly emergences are consistent and plentiful in certain places East to West and become a dependable “hatch.” Species from carp and smallmouth bass on eastern rivers to trout on fabled waters such as Utah’s Green River or Pennsylvania’s Spring Creek grow fat on this annual feast. But the feeding frenzy kicks into high in most years when a brood of periodical cicadas emerge in their predictable range. These insects have been underground for 13 or 17 years (identified by different brood names) and emerge en masse in mind-boggling numbers. Many of them take to trees along highways or deep in the woods where their call is deafening, and animals from birds to snakes to turkeys feed voraciously on them. Millions of cicadas also emerge at the bases of the trees and bushes that line streams and lakes, and they fall into the water so regularly that fish become attuned to them. Even fish that are not designed to feed on the surface, such as carp, catfish and freshwater drum, contort their bodies to take part in this daily buffet, which lasts for about a month. Anglers can follow this hatch and fish cicadas for almost two months and, if they understand which broods are hatching where, can fish cicadas almost every year. This is the first book dedicated to the patterns, techniques, and, most important, the science of locating the best hatches of these insects.

"Madness can afford the individual certain resources and abilities that are not available to others. The fantasy life, free flight of ideas, distortions of reality, and heightened senses . . . offer a unique perspective on the world." —From the Introduction Why do some extraordinary individuals overcome mental anguish and produce brilliant creative artistry that is often enhanced by their madness? New York Times best-selling author and noted psychologist Jeffrey Kottler explores this fascinating question in Divine Madness. His book is filled with the compelling stories of emotional turmoil that many great artists have undergone as they struggle for success and survival. Jeffrey Kottler writes about the dramatic and tragic lives of cultural icons Sylvia Plath, Judy Garland, Mark Rothko, Ernest Hemingway, Virginia Woolf, Charles Mingus, Vaslav Nijinsky, Marilyn Monroe, Lenny Bruce, and Brian Wilson. In this riveting book, Kottler highlights the personal story of each of these extraordinary individuals and analyzes how they struggled to overcome their emotional hardships. Divine Madness clearly differentiates between those who surrendered to their illness, often taking their own lives, and those who managed to endure and even recover. Kottler details how their profound psychological issues affected their lives and work, their great productivity and success, and how they strove to achieve some kind of personal stability. The fascinating and brilliantly told stories in Divine Madness help us to find meaning in the incredible lives of these artists. They also serve as an inspiration for those who are grappling to rise above their own challenges and limitations and express themselves more productively and creatively.

One Step Beyond isn't the best album in the world - it's not even the best album by Madness. It is, however, a great record and an exceptional debut album -fully formed despite half the band still being in their teens - and it remains as exhilarating, inspiring and as much fun as when people first heard it nearly 30 years ago. Through extensive interviews with the band, as well as producers Clive Langer & Alan Winstanley, Terry Edwards tells the inside story of how Madness rose to be the most successful singles band of the 1980s in the UK charts.

Studies of opera, film, television, and literature have demonstrated how constructions of madness may be referenced in order to stigmatise but also liberate protagonists in ways that reinforce or challenge contemporaneous notions of normality. But to date very little research has been conducted on how madness is represented in popular music. In an effort to redress this imbalance, Nicola Spelman identifies links between the anti-psychiatry movement and representations of madness in popular music of the 1960s and 1970s, analysing the various ways in which ideas critical of institutional psychiatry are embodied both verbally and musically in specific songs by David Bowie, Lou Reed, Pink Floyd, Alice Cooper, The Beatles, and Elton John. She concentrates on meanings that may be made at the point of reception as a consequence of ideas about madness that were circulating at the time. These ideas are then linked to contemporary conventions of musical expression in order to illustrate certain interpretative possibilities. Supporting evidence comes from popular musicological analysis - incorporating discourse analysis and social semiotics - and investigation of socio-historical context. The uniqueness of the period in question is demonstrated by means of a more generalised overview of songs drawn from a variety of styles and eras that engage with the topic of madness in diverse and often conflicting ways. The conclusions drawn reveal the extent to which anti-psychiatric ideas filtered through into popular culture, offering insights into popular music's ability to question general suppositions about madness alongside its potential to bring issues of men's madness into the public arena as an often neglected topic for discussion.

Demonstrates the significance of the concepts of madness and death for the history of philosophy.

Madness were true originals who mixed ska and reggae rhythms with social comment and music hall humour to become a British group like no other. They were the most successful UK singles band of the 80s, offering a larky down-to-earth take on Thatcher’s Britain through hits like ‘My Girl’, ‘One Step Beyond’, ‘House Of Fun’ and ‘Baggy Trousers’. Their appeal endures to this day, Madness’ latter-day concerts having become fun-packed celebrations of one of the best-loved songbooks in British pop. Like most bands Madness had their trials and tribulations, including band disputes, accusations of racism and an eventual split. But by then they had become a unique part of British pop history. In this book, John Reed tells their colourful story with a perceptive industry eye and the help of insights from many insiders and colleagues of the band.

There is a new tenant moving into the apartment complex, and Eliza Fields cannot help but wonder about him. Who is he? Where did he come from? And what do the strange inscriptions on his jacket mean? After introducing herself and helping him move into his apartment, Eliza Fields learns the new tenant's name: he is Theo, and he is a man determined to leave his mark on the world around him, and he will let nothing stand in his way. But Theo does not know the danger he is in. There is another man in the shadows, driven into madness, that seeks vengeance for Theo's pursuit of his dream. But can Theo save himself before it's too late? Spark of Madness: The Dream Show is a gripping and suspenseful tale of ambition, rivalry, madness, drama, and the art of Kung Fu. In what is, without a doubt, Alexander Rebelle's crowning achievement as an author to date, Spark of Madness offers an exciting story for everyone to enjoy.

What is ‘creativity’? And what is ‘madness’? How far can we interpret an artist’s work through our knowledge of his or her mental state, and how far can we infer a mental state from a work of art? When does a work of art cease to be a personal statement by the artist and become a matter of public concern? The contributions to this book attempt to answer some of these questions. They come from a wide range of disciplines and experiences – a practising psychiatrist, a practising artist suffering from reactive depression, and critics working in literature, film, music and the visual arts. The essays include discussions of the ‘myth of creativity’, the music of Robert Schumann, the borders of sanity in the writing of Lawrence Durrell, the ‘insane truth’ of Virginia Woolf, the meeting of doctor and patient in the poetry of Anne Sexton, mood disorders in the fiction of David Foster Wallace, love and madness in the poetry of Hafiz of Shiraz, and the paintings of Adolf Wölfli. Central to this discussion of creativity, madness and civilisation is the difficulty of establishing an appropriate and effective vocabulary and mindset between critics and clinical psychiatrists, which would enable them to work together in understanding mental disturbance in creative artists.