For most of its thirteen-year history as a beloved and decorated music magazine, No Depression sought to be an instrument of change: to draw attention to the deep well of American musical traditions; to shine a light on performers whose gifts far exceed the size of their audiences or their pocketbooks; and to provide a safe harbor for the best long-form writing about music on the newsstand. These traditions continue through No Depression's now semi-annual series of bookazines. The inaugural bookazine, numberedND #76so as to make explicit the continuity betweenNo Depression's original and new formats, focused on the next generation of emerging roots music performers.ND #78, due out the fall of 2009, will focus on prominent families in American roots music, kinfolk who have stretched their artistic influence across generations. This will include in-depth pieces about bedrock clans of country music—the Carters and the Cashes—and folk music—the Guthries and the Seegers; profiles of country mavericks Steve and Justin Townes Earle and of jazz great Charlie Haden and his musically adventurous children; plus a more "metaphorical family" piece on the artistic "sons" of bluesman Rev. Gary Davis. The magazine's cofounders and coeditors, Grant Alden and Peter Blackstock, continue to guide the bookazine. The magazine's senior writers and contributors remain on board to shape the tone and voice of the bookazine, and its distinctive graphic design imprint continues in the hands of ND art director Grant Alden.

Contrast media are drugs by default. Had there been no default, there would be no need for a related pharmacology, and thus no need for this book. Radiographic contrast media (CM) are substances whose primary purpose is to enhance diagnostic information of medical imaging systems. The position of CM in pharmacology is unique. First, there is the unusual requirement of biological inertness. An ideal CM should be completely biologically inert, i.e., stable, not pharmacologically active, and efficiently and innocuously excretable. Because they fail to meet these requirements, CM must be considered drugs. The second unusual aspect of CM is that they are used in large quantities, their annual production being measured in tens of tons. It is not in spite of, but because of, the increased use of new radiographic systems, computed tomography, digital radiography, etc., that consumption is on the rise. And, it is not likely that the other emerging imaging modalities - NMR, ultrasonography, etc. - will displace radiographic CM soon; it is quite probable that these remarkable compounds will continue to play an active role in diagnostic imaging in the foreseeable future.

First multi-year cumulation covers six years: 1965-70.

From the smiling, sentimental mothers portrayed in 1930s radio barn dance posters, to the sexual shockwaves generated by Elvis Presley, to the female superstars redefining contemporary country music, gender roles and imagery have profoundly influenced the ways country music is made and enjoyed. Proper male and female roles have influenced the kinds of sounds and images that could be included in country music; preconceptions of gender have helped to determine the songs and artists audiences would buy or reject; and gender has shaped the identities listeners made for themselves in relation to the music they revered. This interdisciplinary collection of essays is the first book-length effort to examine how gender conventions, both masculine and feminine, have structured the creation and marketing of country music. The essays explore the uses of gender in creating the personas of stars as diverse as Elvis Presley, Patsy Cline, and Shania Twain. The authors also examine how deeply conventions have influenced the institutions and everyday experiences that give country music its image: the popular and fan press, the country music industry in Nashville, and the line dance crazes that created the dance hall boom of the 1990s. From Hank Thompson's "The Wild Side of Life" to Johnny Cash's "A Boy Named Sue," from Tammy Wynette's "Stand by Your Man" to Loretta Lynn's ode to birth control, "The Pill," A Boy Named Sue demonstrates the role gender played in the development of country music and its current prominence.

With your heavy case load, you can't afford to waste time searching for answers. Cardiology, 3rd Edition, by Drs. Crawford, DiMarco, and Paulus, offers you just the practical, problem-based guidance you need to quickly overcome any clinical challenge. 8 color-coded sections cover the 8 major clinical syndromes of cardiovascular disease—each section a virtual "mini textbook" on its topic! 40 new chapters keep you up to date with the latest advances in the field, while more than 2,000 lavish, high-quality illustrations, color photographs, tables, and ECGs capture clinical manifestations as they present in practice. It’s current, actionable information that you can put to work immediately for your patients! Offers a problem-based approach that integrates basic science, diagnostic investigations, and therapeutic management in one place for each cardiovascular disease so you can quickly find all of the actionable knowledge you need without flipping from one section to another. Features introductory bulleted highlights in each chapter that present the most pertinent information at a glance. Presents abundant algorithms to expedite clinical decision making. Includes more than 2,000 lavish, high-quality illustrations, color photographs, tables, and ECGs that capture clinical manifestations as they present in practice, and promote readability and retention. Includes 40 new chapters including Inherited Arrhythmia Syndromes, Implantable Cardioverter-Defibrillators and Cardiac Resynchronization Therapy in CHD, Management of the Cyanotic Patient with CHD, Special Problems for the Cardiology Consultant Dealing with Bariatric/Gastric Bypass — and many more — that equip you with all of the latest knowledge. Presents "Special Problem" sections—many new to this edition—that provide practical advice on problems that can be difficult to treat.

This collection brings new voices and new perspectives to the study of popular—and particularly rock—music. Focusing on a variety of artists and music forms, Rock Over the Edge asks what happens to rock criticism when rock is no longer a coherent concept. To work toward an answer, contributors investigate previously neglected genres and styles, such as “lo fi,” alternative country, and “rock en español,” while offering a fresh look at such familiar figures as Elvis Presley, the Beatles, and Kurt Cobain. Bridging the disciplines of musicology and cultural studies, the collection has two primary goals: to seek out a language for talking about music culture and to look at the relationship of music to culture in general. The editors’ introduction provides a backward glance at recent rock criticism and also looks to the future of the rapidly expanding discipline of popular music studies. Taking seriously the implications of critical theory for the study of non-literary aesthetic endeavors, the volume also addresses such issues as the affective power of popular music and the psychic construction of fandom. Rock Over the Edge will appeal to scholars and students in popular music studies and American Studies as well as general readers interested in popular music. Contributors. Ian Balfour, Roger Beebe, Michael Coyle, Robert Fink, Denise Fulbrook, Tony Grajeda, Lawrence Grossberg, Trent Hill, Josh Kun, Jason Middleton, Lisa Ann Parks, Ben Saunders, John J. Sheinbaum, Gayle Wald, Warren Zanes