Finally available after thirty years, MARCHING TO SHIBBOLETH collects all the words (and sound effects) to Firesign's favorite audio comedies of the Seventies, including Waiting For the Electrician; How Can You Be In Two Places At Once; Nick Danger; Don't Crush That Dwarf, Hand Me The Pliers; I Think We're All Bozos On This Bus, and The Giant Rat of Sumatra. MARCHING TO SHIBBOLETH, now under the imprint of Bear Manor Books, reproduces both of Firesign's "Big Books," originally published in 1972 and 1974 by Straight Arrow. Designed by Jon Goodchild and Richard Silverstein, the texts are full of photographs, collages and weirdly cool typography typical of High Seventies Style. Phil Proctor edited the visuals and David Ossman the album transcripts for Firesign. Alan Rinzler was editor for Straight Arrow. Both books have been collector's items for a couple of decades. Collecting both under one cover puts the best known Firesign works together for the first time and provides readers with the unique word-for-word wordplay which was often confusing - er, confused with that of James Joyce during Firesign's heyday. The four major titles - Electrician, How Can You Be, Dwarf and Bozos collectively present Firesign's prescient look at technology, the media, American history and paranoia (especially in the classic "Beat The Reaper " gameshow.) The Giant Rat is their tribute to British "Goon Show" humor and Nick Danger, Third Eye has become the classic send-up of both the "noir" detective story and Golden Age radio.

It's finally happened. Boots for industry presents: the only book you'll Ever need about the past/present/future masters of American satire. The utterly futile yet complete history of The Firesign Theatre and its complete recording history is bundled together in one too-large book!

Danger is Firesign's take on the hard-boiled detective character, with firstperson narration and crazy adventures that often involve mistaken identity, and of course there's always a dangerous dame. The skits spoof the conventions of those old detective radio shows, right down to the special effects, the sponsors, the on-air host, the convoluted plots, and just about anything else that one might have heard on a classic serial. "The Beatles of comedy." -Library of Congress "The Firesign Theatre is a comedy group that uses the recording studio at least as brilliantly as any rock group ..." -Robert Christgau ..". [Firesign is] the funniest team in America today, combining elements of W C Fields, James Joyce, Lord Buckley, contemporary television and Thirties radio, scrambling it all up in a collective consciousness that defies description, and then spewing it out in a free-form half-hour epic presentation of sheer insanity ... Their timing is dynamite, their dialog kaleidoscopic, and their satire is, so to speak, acidic. WAITING FOR THE ELECTRICIAN ... a masterpiece of paranoia." -Ed Ward, Rolling Stone

The Empty Trap, one of many classic novels from crime writer John D. MacDonald, the beloved author of Cape Fear and the Travis McGee series, is now available as an eBook. Lloyd Wescott is a big boy, and he understands that big money doesn’t smell like roses. When he’s hired to build and run the Green Oasis resort, he dosn’t know too much about the pedigree of its owner—and he doesn’t want to. He won’t ask any questions. Just as long as the place is legit and he can run it clean as a whistle. But when trouble checks in, skimming from the casino’s tills is the least of Lloyd’s concerns. The quiet elegance of the hotel lobby turns out to be crawling with contract guns. And after one look from a beautiful woman, Lloyd realizes that he’s about to get some hard answers to the questions he never asked. Features a new Introduction by Dean Koontz Praise for John D. MacDonald “The great entertainer of our age, and a mesmerizing storyteller.”—Stephen King “My favorite novelist of all time.”—Dean Koontz “To diggers a thousand years from now, the works of John D. MacDonald would be a treasure on the order of the tomb of Tutankhamen.”—Kurt Vonnegut “A master storyteller, a masterful suspense writer . . . John D. MacDonald is a shining example for all of us in the field. Talk about the best.”—Mary Higgins Clark

Jake Blake is a private detective short on cash when he meets a rich and beautiful young woman looking to escape her father’s smothering influence. Unfortunately for Jake, the smothering influence includes two thugs hired to protect her—and the woman is in fact not the daughter of the man she wants to escape, but his wife. Now Jake has two angry thugs and one jealous husband on his case. As Jake becomes more deeply involved with this glamorous and possibly crazy woman, he becomes entangled in a web of deceit, intrigue—and multiple murders. Brilliant, sardonic, and full of surprises, Wild Wives is one wild ride.

This work has been revised and updated to include the Anglo-American Cataloguing Rules (2nd ed), the Dewey Decimal System Classification (21st ed) and the Library of Congress Classification Schedules. The text details the essential elements of the International Standard Bibliographic Description; introduces the associated OCLC/MARC specifications; and more. The downloadable resources give more than 500 PowerPoint slides and graphics identical to the text, in addition to scans of the title page, and title page verso and other illustrations that support examples from Anglo-American Cataloguing Rules (2nd ed).

A cultural clearinghouse of the American 1960s and '70s told through the story of the period's most important forgotten comedy group. This expansive book reclaims the Firesign Theatre (hazily remembered as a comedy act for stoners) as critically engaged artists working in the heart of the culture industry at a time of massive social and technological change. At the intersection of popular music, sound and media studies, cultural history, and avant-garde literature, Jeremy Braddock explores how this inventive group made the lowbrow comedy album a medium for registering the contradictions and collapse of the counterculture, and traces their legacies in hip-hop turntablism, computer hacking, and participatory fan culture. He deploys a vast range of material sources, drawing on numerous interviews and writing in tune with the group's obsessive and ludic reflections—on multitrack recording, radio, television, cinema, early artificial intelligence, and more—to focus on Firesign's work in Los Angeles from 1967 to 1975. This ebullient act of media archaeology reveals Firesign Theatre as authors of a comic utopian pessimism that will inspire twenty-first-century recording arts and urge us to engage the massive technological changes of our own era.