In the early 1990s, Stone Temple Pilots – not U2, not Nirvana, not Pearl Jam – was the hottest band in the world. STP toppled such megabands as Aerosmith and Mötley Crüe on MTV and in the mainstream charts. Lead singer Scott Weiland became an iconic frontman in the tradition of Mick Jagger, David Bowie and Robert Plant. Then, when STP imploded, it was Weiland who emerged as the emblem of rock star excess, with his well-publicized drug busts and trips to rehab. Weiland has since made a series of stunning comebacks, fronting the supergroup Velvet Revolver, releasing solo work and, most recently, reuniting with Stone Temple Pilots. He still struggles with the bottle, but he has prevailed as a loving, dedicated father, as well as a business-savvy artist whose well of creativity is far from empty.

In the early 1990s, Stone Temple Pilots—not U2, not Nirvana, not Pearl Jam— was the hottest band in the world. STP toppled such mega-bands as Aerosmith and Guns N’ Roses on MTV and the Billboard charts. Lead singer Scott Weiland became an iconic front man in the tradition of Mick Jagger, David Bowie, and Robert Plant. Then, when STP imploded, it was Weiland who emerged as the emblem of rock star excess, with his well-publicized drug busts and trips to rehab. Weiland has since made a series of stunning comebacks, fronting the supergroup Velvet Revolver, releasing solo work, and, most recently, reuniting with Stone Temple Pilots. He still struggles with the bottle, but he has prevailed as a loving, dedicated father, as well as a business-savvy artist whose well of creativity is far from empty. These earthling papers explore Weiland’s early years as an altar boy right along with his first experiences with sex and drugs. Weiland discusses his complex relationships with his parents, stepfather, siblings, and the love of his life, Mary Forsberg Weiland. Readers learn the fascinating stories behind his most well-known songs and what it was like to be there at the beginning of the grunge phenomenon, as Rolling Stone proclaimed on its cover: “the year punk broke.” Not Dead & Not for Sale is a hard rock memoir to be reckoned with—a passionate, insightful, and at times humorous book that reads with extraordinary narrative force.

"The art collection assembled by Edgar Degas was remarkable not only for its quality, size, and depth but also for its revelation of Degas's artistic affinities. He acquired great numbers of works by the nineteenth-century French masters Ingres, Delacroix, and Daumier; he bought (or bartered his own pictures for) art by many of his contemporaries, particularly Manet, Cezanne, Gauguin, and Cassatt; and he acquired works by a wide range of other artists, from eminent to little known. The extent of Degas's holdings was not recognized until after his death, when the collection came up for auction in Paris in 1918 and, in what was called the sale of the century, was widely dispersed." "Extensive research has made it possible to "reassemble" that collection in book form. This summary catalogue contains information on the more than five thousand works owned by Degas. For each work catalogued the entry includes, to the extent possible: a description with medium and dimensions; provenance information about Degas's acquisition and ownership of the work; information pertaining to the sale of the work in 1918 (or its disposal earlier), including the purchaser, purchase price, and other data; the current location; selected references; and an illustration. In a concordance, collection sale lot numbers are listed with their corresponding summary catalogue numbers." "This catalogue and its companion volume of essays are published in conjunction with the exhibition "The Private Collection of Edgar Degas," held at The Metropolitan Museum of Art, New York, from October 1, 1997, to January 11, 1998."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Why is death bad for us, even on the assumption that it involves the absence of experience? Is it worse for us than prenatal nonexistence? Kamm begins by considering these questions, critically examining some answers other philosophers have given. She explores in detail suggestions based on our greater concern over the loss of future versus past goods and those based on the insult to persons which death involves. In the second part, Kamm deals with the question, "Whom should we save from death if we cannot save everyone?" She considers whether and when the numbers of lives we can save matter in our choice, and whether the extra good we achieve if we save some lives rather than others should play a role in deciding whom to save. Issues such as fairness, solidarity, the role of random decision procedures, and the relation between subjective and objective points of view are discussed, with an eye to properly incorporating these into a nonconsequentialist ethical theory. In conclusion, the book examines specifically what differences between persons are relevant to the distribution of any scarce resource, discussing for example, the distribution (and acquisition) of bodily organs for transplantation. Kamm provides criticism of some current procedures for distribution and acquisition of a scarce resource and makes suggestions for alternatives.