Icon same first self

ICON: Icon Label: Axe Killer Records ‎– 3056732 Format CD Album Limited Edition Remastered Pays: France  Date: 2000 1 (Rock On) Through The Night 3:32 2 Killer Machine 3:31 3 On Your Feet 3:22 4 World War 4:33 5 Hot Desert Night 3:52 6 Under My Gun 3:30 7 Iconoclast 1:26 8 Rock'N'Roll Maniac 3:58 9 I'm Alive 4:07 10 It's Up To You 5:08 - Phonographic Copyrigh Capitol Records - Phonographic Copyrighp Axe Killer Records - Copyright Axe Killer Records - Licensed From EMI France - Distributed By Wagram Music - Glass Mastered At DOCdata France - Remastered At L'Autre Studi - Backing Vocals Stephen Clifford, Tracy Wallach - Bass Guitar Tracy Wallach - Drums, Percussion Pat Dixon - Guitar Dan Wexler, John Aquilino - Lead Vocals Stephen Clifford - Producer – Mike Varney - Remastered By – Jean-Pierre Bouquet "Serie Limitee"  N° 1366 / 2000 État: Comme Neuf  /  Condition: Near Mint France : En envoi Colissimo: 5,50 € .  Option recommandé: + 2 € Postage E.E.C. : Registred shipment without Jewel Case: 8 € Postage Rest of the World: Registred shipment without Jewel Case: 9 € Available photos on request to nocoma@live.fr Payment due 3 days after invoice received Combined shipment

Emerson's Essays on Manners, Self-Reliance, Compensation, Nature, Friendship (Classic Reprint) Ralph Waldo Emerson Auteur: Ralph Waldo Emerson Editeur: Forgotten Books Broché: 194 pages paperback Publication: 15/07/2012 Dimensions: 22,86 x 15,24 x 2,29 Langue: Anglais Publier en: Anglais Languages d'origine: Anglais Help ? May 25, 180 A prU 27,1882) We have few more intimate biographical records than Emersoi s; fewer still tiiat cause so littie disappointment in the reading. In the wealth of material at hand in his Journal and letters as well as in the personal reminiscences of a great band of friends and admirers we are brought face to face with a personality that can but win by the cumulative power of character Even those who met Emerson with prejudices to be overcome were conquered by his presence. In an instant all my dislike vanished said Crabbe Bobinson, in reporting the first glimpse caught of him across a crowded room. One and another bear evidence to the same personal power with a concurrence that would be tiresome, were it not for the strong individual conviction in each case. Two other brothers, Edward and Charles, both younger, shared this power; William, the oldest, was likewise gifted with unusudl intellect. The family lived in Boston, where the father, William Emerson, was a brilliant Congregational minister, prominent in religious, social, and literary circles till his death in 1811. (Typographical errors above are due to OCR software and don't occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and Mythology. Forgotten Books' Classic Reprint Series utilizes the latest technology to regenerate facsimiles of historically important writings. Careful attention has been made to accurately preserve the original format of each page whilst digitally enhancing the aged text. Read books online for free at Great Collection but Not the Best This collection has five Ralph Waldo Emerson essays: "Self-Reliance," "Manners," "Compensation," "Nature," and "Friendship." They were published a few years apart but have little intrinsic connection; the combination seems random. However, "Self" is an essential masterpiece, and the others are high quality. Anyone wanting a sampler could do worse, but the essays are widely available in far more comprehensive compilations, and this is hard to justify unless one sees it for a good price. "Self" is Emerson's most famous essay and is rivaled only by "Concord Hymn" as his most famous work. It is also his masterpiece; one often hears - sometimes disparagingly - that Emerson tried to fit his whole philosophy into each essay, and this comes remarkably close. There is far more depth and subtlety here than the length suggests; one would be very hard-pressed to find another work so densely packed. The words are few, but the implications are enough for a lifetime. "Self" is a seminal masterwork; a founding Transcendentalist text and American Romantic cornerstone, it is central to American thought, culture, and literature. Anyone even remotely interested in any Americana aspect must be intimately familiar with it; aside from the Declaration of Independence and Constitution themselves, perhaps no other document is so vital to the American spirit. Reading "Self" is perhaps more necessary than ever - not only because it is eternally relevant but also because it is often misrepresented. The term "self-reliance" is now almost entirely political, almost synonymous with libertarianism, and the essay is frequently touted along such lines. However, these things are hardly more than implied here, and though the definition of "liberal" has greatly changed, it is important to remember that Emerson was one of his era's leading liberals. His prime meaning in any case is self-reliance intellectually and in everyday life. He urges us to trust ourselves, to recognize human divinity and avoid imitation. It is a simple message but all-important - and far easier said than done. Emerson explores all its ramifications - philosophical, practical, social, political, economic, etc. - and outlines all its benefits. The case is beyond convincing, but he can do no more than show us; the rest is up to us. This profoundly individualist message is another reason that reading "Self" is so necessary. Emerson now unfortunately has a reputation for being somewhat impenetrable and/or hopelessly impractical; this is a true shame, because he wrote for the masses. Unlike nearly all philosophers, he does not rely on jargon or polysyllables; he truly wanted to be understood, and all it takes is will. We must open our minds to him, and once we have, they will never be closed again. Though greatly revered with many and diverse followers, Emerson's intention was not to be loved but to inspire; he wanted all to find individual genius. His work is thus the truest and best kind of self-help manual, and "Self" is its apotheosis. It has inspired millions in the more than century and a half of its existence, including me. I have read thousands and thousands of works, but this is one of the handful that truly changed my life. Emerson's greatness always shines through, but reading him at the right time can make an astonishing difference. He was more popular in life with the young than the old, and I can easily see why. I was lucky to read him at just the right time, and "Self" spoke to me more powerfully than almost anything else ever has. Without hyperbole, I can say that I would not be doing what I am today and would have abandoned my goals and visions without reading "Self" and Thoreau's "Life without Principle" - a somewhat similar essay highly influenced by Emerson - when I did. I was wracked with self-doubt and getting nothing but indifference, bafflement, or hostility from others; these works gave just the kick I needed, and I will never look back. "Self" has the potential to be life-changing as almost nothing else does, and I highly recommend it to all; you can hardly be unaffected and may never be the same. However, I especially recommend it to the young; its importance to them - and Emerson's generally - simply cannot be overemphasized. Emerson is a signature American stylist, and "Self" is near his height. His writing is always memorable and often highly lyrical - about as close to poetry as prose can be. However, his essays were almost always painstakingly composed from lectures and journals, and the effect was sometimes choppy. An Emerson-loving professor of mine once joked that no one can find the topic sentence in an Emerson paragraph, and his transitions also frequently leave much to be desired. However, "Self" is near-seamless, a true masterpiece of style that flows smoothly and often waxes beautiful. This is all the more remarkable in that it was assembled even more than usual from disparate sources; entries that ended up here came as far as eight years apart, but the whole is admirably harmonious. "Self" is a preeminent example of how Emerson delights in paradox. Anyone who reads him closely sees that he is as complex as he is simple. Thus, despite - or perhaps even because of - apparent straight-forwardness, few texts are more ripe for deconstruction. "Self" fans after all love a text that tells us not to love texts, are inspired by a man who tells us not to be inspired by men, and are convinced by a text and man both of which tell us not to be convinced by either. But this is only the beginning. "Self" works because it tells us exactly what we want to hear and, in striking contrast to innumerable self-help books, does so in an intellectually and even aesthetically respectable way. This is fine for me and (hopefully) you but could of course be taken to heart by Hitler as easily as Gandhi. The thoroughly optimistic, mild-mannered, and physically frail Emerson may not have foreseen his revolutionary text being put to nefarious use and probably would have been unable to believe in even the possibility. However, the danger, if we choose to call it so, is very real. "Self" could easily have had the same effect that Nietzsche had on Nazis, and that it has not been taken up by anarchists, radical terrorists, and the like is perhaps mere luck. One at least wonders how it avoided preceding The Catcher in the Rye as the work synonymous with unsavory people. That said, it is likely unfair to Emerson to say he did not anticipate this; he after all takes his views to the logical conclusion. He surely saw it, and it may have given pause, but he persevered because he was faithful to his intuition just as he urges us to be to ours. He truly believed in self-reliance and was ready to stand by it no matter what befell - nay, thought it his only choice. His optimism must have told him that the doctrine would not be abused, and he has been right - so far. Only time will tell if this continues to hold, but "Self" remains essential for all. Though far less great and universal, "Manners" is one of Emerson's more historically interesting essays. It is essential to recall that his era perhaps emphasized manners more than any other in history; they had an importance of which we cannot even conceive. All had to deal with them regardless of personal views, but virtually all seemed to agree - or at least convinced others that they did. Thus, though it may initially seem somewhat surprising in light of Emerson's trademark liberalism and originality that he (begrudgingly) accepts some conventions, the small extent to which he did so is truly remarkable. The essay goes a little into various manners' pros and cons, but the core points are elsewhere. The first is that manners are relative; Emerson begins with some striking anthropological examples of this all-important fact and otherwise drives it home. An extension of his core self-reliance doctrine, the second is that the great make their own manners - and make others respect them. "Manners" is one of Emerson's least transcendental works - in any sense -, but comparing and contrasting its message to today's society and competing views can be instructive, and it is a valuable timepiece. "Friendship" is also very good - one of Emerson's most affecting and thought-provoking works. His view of the ubiquitous subject is unsurprisingly original and engaging. He believes that friendship can exist only with real equality and sees it as a sort of springboard to something higher. His demands are great, and the work is eye-opening in the sense that almost no one has a friend by his definition. Like his best work, "Friendship" can easily make us question beliefs and preconceptions - and perhaps even make us better friends. "Compensation" is one of Emerson's most representative essays. The staunch optimism so essential to his thought was perhaps never shown so clearly or thoroughly elsewhere. Emerson begins by saying he had wanted to write about compensation since he was a boy, and it shows in his enthusiasm. He works himself up almost to a rhapsody, giving example after example in clear, beautiful prose that remarkably never becomes dull and is often near-lyrical. The essay details Emerson's belief that everything balances out, even if we cannot see it, and that good and evil have their own earthly rewards despite appearances. He may not convince cynics, but his argument is certainly compelling, and his critiques of conventional Christianity and other traditions are very intriguing. "Nature" has many of Emerson's key concepts: nature's all-encompassing beauty and force, our place in regard to it, art's role, and of course deduction of God from nature. Some speculations are more philosophical, historical, or critical, but all lead to these basic points, which are Transcendentalism's cornerstones. Emerson's characteristically optimistic thought is here in full, as is his signature poetic prose. These essays are essential for anyone interested in Emerson, whether read here or elsewhere. Three Stars Not much explanation. Hard to read. Print is not very clear. D'autre ouvrages de Ralph Waldo Emerson Mot Clef: Nonfiction Education Education Theory

You're bidding for a true, impossible to find piece of gothic music at its best. For sale is the SOPOR AETERNUS "Todeswunsch (sous le soleil de Saturne)" first press original digipack CD from 1995 issued out at the time on Apocalyptic Vision records (Germany). This is the genuine original edition of the Cd from 1995, totally out of print and only reissued in 2004 on the same label as normal CD version, it bears the tracking number AD 012 CD The digipack is in very good condition, some scuff marks here and there but nothing serious nor noticeable, the disc is near mint as it has only been played a couple of times throughout the years. The tracklist goes as follows: 01. "Flesh Crucifix (Suffering FromObjectivity)" 02. "Die Bruderschaft des Schmerzes (Die Unbegreiflichkeit des dunklen Pfades, den die Kinder Saturns gehen)"based on Black Sabbath 03. "Shadomsphere 1 & 2 (The monologue / World and the subconscious Symbols)"based on Black Sabbath 04. "Saltatio Crudelitatis (Tanz Der Grausamkeit)" 05. "Just a Song without a name" 06. "Soror (Sister of self destruction)" 07. "Le th‚ƒéatre de la blessure sacr‚ée" 08. "The devil's instrument" 09. "Todeswunsch" 10. "Drama der Geschlechtslosigkeit [Part 1]" 11. "Freitod-Phantasien" 12. "Drama der Geschlechtslosigkeit [Part 2]" 13. "Saturn=Impressionen" 14. "Somnambulist's secret bardo-Life (Does the increase of pain invite the absence of time?)" 15. "Not dead but dying" 16. "Only the dead in the mist" 17. "This profane finality" 18. "Cage within a cage (... within a cage within a cage...)" This is pure dark, painful and sad gothic music to the extreme boundaries, coming directly from Anna Varney's twisted mind under Saturn's influence, but this is awesome music nonetheless... Notice the first 4th tracks are inspired from the great Black Sabbath's tunes, as the track Todeswunsch is inspired by Cat Stevens' music... For any question or enquiry feel free to contact me first at: thehorn@orange.fr Check my other auctions out for more vintage Black/Death/Thrash/doom/heavy metal gems & metal magazines from the past century and beyond... I accept Paypal as payment only for International bidders, I also accept personal checks from bidders from France. Happy bidding

Prince Ultimate mixes  2xLP Near Mint  Beautiful copy!!!  Rare original NPG Records 1995!!! Great condition!! First hand from my own collection !!! Any questions feel free to contact me!!! A1Prince–Little Red Corvette (Dance Remix)A2Prince And The Revolution–Raspberry Beret (12" Version)B1Prince–Let's Work (Dance Remix)B2Prince–U Got The Look (Long Look Version)C1Prince And The Revolution–Pop Life (Fresh Dance Mix)C2Prince And The Revolution–She's Always In My Hair (12" Version)D1Prince–Thieves In The Temple (Remix)D2Prince And The New Power Generation–Cream (NPG Remix) Prince Rogers Nelson (June 7, 1958 – April 21, 2016) was an American singer-songwriter, multi-instrumentalist, record producer, actor, and director. Regarded as one of the greatest musicians of his generation, and guitar virtuoso, he worked across multiple genres performing in a flamboyant and androgynous persona, with a wide vocal range which included a far-reaching falsetto and high-pitched screams.[Prince's music integrated a wide variety of styles, including funk, R&B, Latin, rock, new wave, classical, soul, synth-pop, psychedelia, pop, jazz, and hip hop. He pioneered the Minneapolis sound, a funk rock subgenre that emerged in the late 1970s. He was also known for his prolific output, releasing 39 albums during his life, with a vast array of unreleased projects left in a vault at his home after his death; it is believed that the vault contains dozens of fully produced albums and over 50 music videos that have never been released, along with various other media.[He released hundreds of songs both under his own name and multiple pseudonyms during his life, as well as writing songs that were made famous by other musicians, such as "Nothing Compares 2 U" and "Manic Monday". Estimates of the complete number of songs written by Prince range anywhere from 500 to well over 1,000. Born and raised in Minneapolis, Minnesota, Prince signed a recording contract with Warner Bros. Records at the age of 19. Prince went on to achieve critical success with the innovative albums Dirty Mind (1980), Controversy (1981), and 1999 (1982). His sixth album, Purple Rain (1984), was recorded with his backup band the Revolution, and was the soundtrack to his film acting debut of the same name. Purple Rain spent six consecutive months atop the Billboard 200. Prince won the Academy Award for Best Original Song Score. After disbanding the Revolution, Prince went on to achieve continued critical success with Sign o' the Times (1987). In the midst of a contractual dispute with Warner Bros in 1993, he changed his stage name to the unpronounceable symbol  (known to fans as the "Love Symbol"), and was sometimes referred to as The Artist Formerly Known as Prince or TAFKAP, or simply the Artist. He signed with Arista Records in 1998 and began referring to himself by his own name again in 2000. After returning to mainstream prominence following a performance at the Grammy Awards ceremony in 2004, he scored six US top ten albums over the following decade. Joni Mitchell said of Prince, "He's driven like an artist. His motivations are growth and experimentation as opposed to formula and hits." In mid-life, Prince reportedly experienced considerable pain from injuries to his body (mainly hips) sustained through his dynamic stage performances (which included leaping off speaker stacks in high heels), and was sometimes seen using a cane. In April 2016, at the age of 57, Prince died of an accidental fentanyl overdose at his Paisley Park home and recording studio in Chanhassen, Minnesota. Prince sold over 150 million records worldwide, ranking him among the best-selling music artists of all time. His awards included the Grammy President's Merit Award, the American Music Awards for Achievement and of Merit, the Billboard Icon Award, an Academy Award, and a Golden Globe Award. He was inducted into the Rock and Roll Hall of F