His Masters Voice

John Howard has the loudest voice in Australia. He has cowed his critics, muffled the press, intimidated the ABC, gagged scientists, silenced NGOs, censored the arts, prosecuted leakers, criminalised protest and curtailed parliamentary scrutiny. Though touted as a contest of values, this has been a party - political assault on Australia's liberal culture. In the name of ''''''''balance'''''''', the Liberal Party has muscled its way into the intellectual life of the country. And this has happened because we let it happen. Once again, Howard has shown his superb grasp of Australia as it really is. In His Master's Voice, David Marr investigates both a decade of suppression and the strange willingness of Australians to watch, with such little angst, their liberties drift away. ''''''''More than any law, any failure of the Opposition or individual act of bastardry over the last decade, what's done most to gag democracy in this country is the sense that debating John Howard gets us nowhere.'''''''' - David Marr, His Master's Voice.

Jim Keays, the lead singer of the Masters Apprentices, tells of life in a top rock band in Australia in the sixties.

This discography provides, for perhaps the first time, a complete numerical catalogue of Italian gramophone recordings made by the Gramophone Company Ltd. Kelly has effectively used the archives and registers of EMI Limited (The Gramophone Company) to offer a richly detailed picture of recording activity during the years 1898 to 1929. The Gramophone Company was established in London in 1898 and by 1899 six branches had been set up in Europe, among them Milan, Italy. In each branch, matrixes were numbered serially and coded to indicate recorder, making it possible to identify not only the first Gramophone record to be made in Italy--Bice Adami singing Voi lo sapete with piano accompaniment--but to follow the course of the company's activities. The main catalogue is divided into three sections: recordings issued on the Gramophone label; recordings issued on the Zonophone label, including the Trento-Trieste Supplement; and recordings issued on the Gramophone Green label. Most entries include the following information: the original catalogue number; the matrix (serial) number of the recording in its correct form; the date of recording; the name of the artist(s) involved in making the recording, including the accompaniast where known; the title of the piece; and alternate issue numbers. Kelly's introduction gives an overview of the company's history and cataloging practices. Kelly not only examines the history of the Italian Gramophone Company, but added to the discographical record of the Victor Talking Machine Company, of which Gramophone was the European, Asian, and African partner. His discography will be welcomed by anyone interested in the international history of recorded music. Record collectors will also find it a valuable resource.

What kinds of political message are actually capable of striking chords with an audience? How do the skills of spellbinding speakers compare with those of their less charismatic competitors? Why are some politicians much more effective on television than others? Max Atkinson's revealing and entertaining review of how politicians attempt to win out hears and minds and votes - based on the study of audio and videotaped material - enables use to begin to answer questions that once seemed unanswerable. He investigates the skills of, amongst others, Tony Benn, J.F. Kennedy, Martin Luther King, Ronald Reagan and Margaret Thatcher, and comes up with some intriguing results -- From back cover

Twelve stories by science fiction master Stanisław Lem, nine of them never before published in English. Of these twelve short stories by science fiction master Stanisław Lem, only three have previously appeared in English, making this the first "new" book of fiction by Lem since the late 1980s. The stories display the full range of Lem's intense curiosity about scientific ideas as well as his sardonic approach to human nature, presenting as multifarious a collection of mad scientists as any reader could wish for. Many of these stories feature artificial intelligences or artificial life forms, long a Lem preoccupation; some feature quite insane theories of cosmology or evolution. All are thought provoking and scathingly funny. Written from 1956 to 1993, the stories are arranged in chronological order. In the title story, "The Truth," a scientist in an insane asylum theorizes that the sun is alive; "The Journal" appears to be an account by an omnipotent being describing the creation of infinite universes--until, in a classic Lem twist, it turns out to be no such thing; in "An Enigma," beings debate whether offspring can be created without advanced degrees and design templates. Other stories feature a computer that can predict the future by 137 seconds, matter-destroying spores, a hunt in which the prey is a robot, and an electronic brain eager to go on the lam. These stories are peak Lem, exploring ideas and themes that resonate throughout his writing.