Take mobile phones for example, in the past 15 years they have evolved from contraptions you could make calls from to devices that do so much more. Now they can help you organise your social life, banking, food diary – your entire existence!

With tablets being commonly used in schools, and the fact that ICT is a relatively new subject, technology is changing the way students are being taught.

In this piece, we’ll provide a comprehensive guide of how technology will shape the future of education and what students will be studying and using in years to come.

From making use of 3D printers, to using virtual reality as part of an immersive learning experience, the possibilities are endless!


Chambers Cat 2.02.qxd

This book addresses the issue of valuing objects in cultural collections, ranging from high-value to low or no-value and featuring a range of collections including fine art, archives, science and photography. Practical advice is given on how to assign values and best practice examples are drawn from museums, libraries and archives.

The subject of valuation has always been challenging for museums and public collections and is becoming more urgent as monetary values of many items continue to break records. There is an increase in lending, with more loans requiring a value for insurance. Cultural collections and exhibitions are expanding to all corners of the world, while, at the same time, lenders are becoming more risk-averse. Valuing Your Collection will address the issues and offer some solutions.

Content covered includes:

  • questions of valuing public and private cultural collections
  • assigning values to individual objects or an entire collection
  • legal and ethical considerations
  • discussion of authentication and attribution
  • the insurance business and valuation
  • guides to valuing different types of collections
  • a range of case studies showing valuation across multiple sectors
  • sample templates with criteria for valuing different objects.

This book will be useful for curators of cultural collections, professionals in museums, libraries and archives, cultural heritage students, private collectors, those involved with art insurance, art business and anyone requiring practical guidance on valuation.


Sample pages

Turns out rock is what the doctor ordered. While patients are sedated in the operating room (OR), surgeons are rocking out to the likes of MetallicaLed ZeppelinAC/DC and Scorpions. According to a survey conducted by Spotify and Figure 1, rock is the most popular genre of music surgeons listen to while operating (49%), followed closely by pop (48%), classical music (43%), jazz (24%) and R&B (21%)*.

Dr. Alan I. Benvenisty, a NYC-based vascular and transplant surgeon at Mount Sinai Health System, is known to play rock during his operations. “People’s lives are in my hands and listening to rock puts me in a comfortable place so my full attention is on my patients,” he says. “I listen to bands from my youth and the feeling of nostalgia brings me to a calm, focused place.”

According to the survey conducted on the free knowledge-sharing healthcare app, nearly all (90%) of surgeons and surgical residents listen to music in the OR, with the majority (89%) preferring playlists over albums. Almost one-third (31%) of these doctors have more than five playlists on rotation.

Doctors surveyed reported that music relaxes and calms them in the OR, helps improve mood and focus, and breaks tension when there are quiet moments. One surgeon stated,  “It calms the nerves and improves staff morale.” Another added, “At times it keeps the room mellow and coordinated, and at other times it keeps the pace up.”

Musical selections in the OR aren’t just up to the medical team: Many surgeons also reported that they take requests. If the patient is awake, they have a say in the soundtrack. Said one doctor, “We do C-sections where the patients are awake. If they have a preference we go with what they want. If not, we have fun with it and play name that tune from old TV shows, old songs, etc.”

Rock is also popular for the medical professionals whose jobs are focused on putting patients to sleep during operations. Anesthesiologists, anesthesiology residents and certified nurse anesthetists report listening to rock (44%) when working, with only pop music (59%) edging out the genre for these sleep-specialists.

Of course, safety is always paramount. Survey participants reported that music is turned down during critical points in the surgery and when there are complications.

* Methodology: On behalf of Spotify, Figure 1, a global knowledge-sharing platform for healthcare professionals, surveyed select registered users of its free mobile app throughout June 2017. Users were targeted based on surgical specialty and subspecialty with a request to share their listening habits in the OR. The 12-question in-app survey took an average of 6 minutes to complete, and 73% of respondents answered it on their smartphones. Nearly 700 surgeons and other healthcare professionals from more than 50 countries were represented in the survey, with the majority coming from the United States.



Posted by: bluesyemre | August 1, 2017

The 100 Greatest #Metal Albums of All Time by #RollingStone


With a crash of thunder, the ringing of ominous church bells and one of the loudest guitar sounds in history, a heavy new music genre was born in earnest on a Friday the 13th early in 1970. Its roots stretch back to the late Sixties, when artists like Blue Cheer, Iron Butterfly and Led Zeppelin cranked their amps to play bluesy, shit-kicking rockers, but it wasn’t until that fateful day, when Black Sabbath issued the first, front-to-back, wholly heavy-metal album – their gloomy self-titled debut – that a band had mastered the sound of the genre, one that still resonates nearly 50 years later: heavy metal.

Although Black Sabbath’s members have scoffed at the metal tag over the years, their lumbering, overdriven guitar, acrobatic drumming and forceful vocals, all originally intended to be rock’s equivalent to a horror movie, have been copied time and again, decade after decade. Judas Priest dressed it in denim and leather. Metallica whirled it into a breakneck blur. Korn gave it a new rhythmic oomph. And Avenged Sevenfold ornamented it with catchy, head-turning melodies. In between, it’s been rejiggered for maximum extremity in underground subgenres like death metal, black metal and grindcore, and, beginning in the early Eighties, the genre as a whole had become a cultural movement capable of overtaking the pop charts.
Metal bands weren’t the first to embrace dark imagery in their music – that tradition goes back to classical composers like Richard Wagner and blues artists like Robert Johnson – but they approached these subjects with a unique pomp, a hyper-masculine might that gave the genre a musical language of its own. It could be virtuosic or it could be primal, but it was always loud. That codification, combined with many bands’ tough-as-nails demeanors, marked by scowls and black clothing, helped metal become a lifestyle that transcended the bands onstage.
Fans of the genre, whether you call them metalheads, headbangers or something else, are passionate, charismatic and bold, eager to debate, define and defend every nuance of their favorite bands’ music to the death. Because metal has become so varied in its rich history since Black Sabbath first thrilled listeners, it’s hard to please all of the headbangers all of the time.
So when Rolling Stone began picking the 100 Greatest Heavy Metal Albums, we set some ground rules. Although the genre’s late-Sixties and early-Seventies forebears – not just giants like Cream, Zeppelin and Deep Purple, but also less iconic yet equally heavy bands such as Mountain, Captain Beyond and Sir Lord Baltimore – created some truly unruly metal moments, their LPs often made folky, bluesy detours away from the maximalism that later marked the genre, so we ruled them out. We did the same with bands that specialize more in hypercharged rock & roll, like AC/DC and Guns N’ Roses, but are missing the X factor that separates their music from metal. Similarly, some bands that Rolling Stone deemed metal in the Seventies (sometimes as a pejorative) and made classic albums, like Kiss, Alice Cooper and Grand Funk Railroad, in retrospect sound more like hard rock than the genuine article and are absent here. Lastly, because we sought out only the most consistently perfect metal albums, genre signposts like Skid Row, Testament’s Practice What You Preach and even the first metal album to top Billboard, Quiet Riot’s Metal Health, didn’t make the cut because their track lists fizzle past the hits – making room for more great LPs. (We learned quickly that 100 is a small number.)
We had to make a lot of tough, critical decisions, and even polled some metal royalty, including Ozzy Osbourne, Rob Halford, Lars Ulrich and Corey Taylor, whose top picks we will be publishing separately, but ultimately we made a list that reflects metal’s diversity, power and legacy. It places skull-rattling records by the genre’s mightiest masters alongside ones by a face-painted Norwegian duo (Darkthrone), some Brits who made the Guinness Book of Records for the world’s shortest song (Napalm Death) and Americans who fused Pink Floyd with Mayhem for their own unique sound (Deafheaven). It also contains a few records Rolling Stone either smeared in the review section in years past or outright overlooked, making this list a mea culpa.
So without further ado, don your spiked gauntlets and raise your horns so we can present you with the 100 Greatest Metal Albums of All Time.

20. Anthrax, ‘Among the Living’ (1987)

Thrash metal wasn’t just about speed, volume and the adrenaline rush of bouncing off the walls and other fans in a mosh pit. It was also about equality. “Metal has always had this larger than life image. We’re more into being real,” Anthrax drummer Charlie Benante told Melody Maker. “We just try to be on the same level as our audience – except we’re onstage.” But what elevated the New York band’s third LP, Among the Living, to a thrash classic wasn’t just the way songs like “Caught in a Mosh” articulated the generational rage (“Get the hell out of my house!”) that made slam-dancing a necessary form of release. It was also the way the music churned and flowed, thanks to the sudden accelerations and rhythmic shifts found on songs such as “One World.” Benante and his bandmates may have been regular guys in other respects, but as musicians there was no denying the technical agility that went into each aural onslaught. Yet the album never lords that over the listener; instead, its best moments – “Efilnikufesin (N.F.L.),” “I Am the Law,” “Indians” – democratize that brilliance by attaching it to some of the band’s catchiest, most approachable material. J.D.C.

19. Megadeth, ‘Rust in Peace’ (1990)

Megadeth, 'Rust in Peace' (1990)

No other band from thrash’s first wave combined airtight songwriting with sheer instrumental mayhem as creatively or skillfully as Megadeth did on Rust in Peace. From the rapid-fire descending lick that kicks off two-part opener “Holy Wars … the Punishment Due” to the final staccato rhythmic churn of “Rust in Peace … Polaris,” the album is a breathless 40 minutes of Dave Mustaine’s finger-twisting, labyrinthine riffage (check out “Poison Was the Cure” for just one of many bonkers examples), snarling war-and-religion obsessed lyrics – “It was a time in the world when the Cold War was still a real issue; we were pointing toward the East with our nukes out,” the singer has said – and neck-snapping, shift-on-a-dime arrangements, all of it delivered with fierce, punkish intensity and an unusually nimble rhythmic swing. Rust also marked the debut of soon-to-be-christened guitar hero Marty Friedman, whose technically adroit, exotic-scale-tinged leads served as an ideal foil for Mustaine’s ripping, New Wave of British Heavy Metal–style shred, as exemplified by the pyrotechnic six-string tradeoffs that highlight UFO-conspiracy-themed classic “Hangar 18.” Megadeth went on to greater commercial success in the next few years, but Rust still stands as the thrash summit all chops-crazed followers aspire to scale. R.B.

18. Tool, ‘Ænima’ (1996)

Tool, 'Ænima' (1996)

By definition, metal bands are heavy musically, but Tool is also heavy in the emotional sense. The title of their second album, Ænima, although invented by the band, is meant in part to evoke Jung’s concept of the “anima,” or life force, and the LP is riddled with existential ruminations on why we’re here and whether it’s worth it. “How could this mean anything to me?” mutters Maynard James Keenan’s protagonist in “Stinkfist,” and his delivery is so convincingly wolrd-weary you almost don’t notice that he’s singing about having his arm “shoulder deep” up someone’s rectum. Engaging, unrepentant creeps are a Tool specialty, and Ænima crawls with them. There’s the charismatic bully of “Eulogy,” the obsessed fan at the heart of “Hooker with a Penis,” the misanthrope in “Ænima” who, imagining California’s tumble into the sea, sneers, “Learn to swim.” Keenan illuminates the joy in malevolence, while the richly detailed thunder conjured by the prog-inflected drum and guitar parts only amplifies the twisted anima at work. The enthralling blend helped Ænima go double platinum, and turned Tool from alt-metal trailblazers to one of the staple heavy bands of the past 20-plus years. “There are a lot of metaphysical, spiritual and emotional changes going on right now, and we’re just trying to reflect that,” Keenan told Rolling Stone in ’96. “We’re not that different from Tori Amos in that sense.” J.D.C.

17. Mercyful Fate, ‘Melissa’ (1983)

Mercyful Fate, 'Melissa' (1983)

The first 20 seconds of Melissa – featuring crunchy, pulsing guitar riffs pierced by frontman King Diamond’s impossibly high helium-voiced scream – make up one of the most captivating sequences in metal history. It hooked Metallica, whohung out in the Danish heavy metallers’ rehearsal studio when recording Ride the Lightning, and bewitched Slayer, whose Kerry King had called his band’s Hell Awaits “a Mercyful Fate record.” At the time, the band sounded like a steroidal Judas Priest leading a black mass. On “Evil” alone, the theatrical singer, whose wild face paint made him look like Gene Simmons on bath salts and whose mic stand was made of a human skull, sings about necrophilia amid Hank Sherman’s forceful, caffeinated “Eye of the Tiger”–like riffs, leading to a thrilling guitar showdown between Sherman and Michael Denner. Throughout the record, King pulls off incredible acrobatic vocal feats, thanks to his four-octave range, whether he’s wailing about Halloween (“At the Sound of the Demon Bell”), inviting you into his witches’ coven with a growl (“Into the Coven,” one of the PMRC’s “Filthy 15”) or invoking ancient Egyptian voodoo (“Curse of the Pharaohs”). “I know people like to be scared just a little bit and they like that because they go watching all the horror movies,” King Diamond said of his lyrical shock appeal, circa 1987. “Just take it as horror stories, that’s all.” Elsewhere, he hails Satan literally (“Black Funeral”) and whispers creepily about a dead witch named Melissa (“Satan’s Fall”), portending the spate of Norwegian black metallers who painted their faces and burnt down churches. Satan may not be real, but King Diamond is. K.G.

16. Dio, ‘Holy Diver’ (1983)

Dio, 'Holy Diver' (1983)

After establishing himself as a top-tier hard-rock vocalist via his late-Seventies/early-Eighties stints in Rainbow and Black Sabbath, Ronnie James Dio truly ascended into the metal pantheon with his 1983 solo debut. More bracingly metallic than anything he had done before – thanks in part to 20-year-old Irish guitarist Vivian Campbell, whose crunchy chords and squealing leads meshed perfectly with the paint-peeling intensity of Dio’s piercing wail – Holy Diver‘s stirring anthems like “Stand Up and Shout,” “Rainbow in the Dark” and the immortal title track found Dio planting one boot in Dungeons & Dragons–style fantasy and the other in contemporary social commentary. “My writing has always been medieval-flavored,” he told Artist magazine shortly after the album’s release, “but I’m concerned with what we’re doing with ourselves and our environment.” Although it reached only Number 56 on the Billboard 200 upon its release, Holy Diver would achieve platinum status by the end of the Eighties, and serve as an influential touchstone for everyone from Killswitch Engage to Tenacious D. D.E.

15. Ozzy Osbourne, ‘Diary of a Madman’ (1981)

Ozzy Osbourne, 'Diary of a Madman' (1981)

A year after proving he was still a vital musical force on his first post–Black Sabbath solo LP, 1980’s Blizzard of Ozz, Ozzy Osbourne demonstrated it wasn’t a one-time fluke with an album of poppy and gothic anthems like “Flying High Again” and the almost classical closing title track. Guitarist Randy Rhoads, who died in a plane crash while touring for Diary in 1982, had already proven himself a virtuoso on Blizzard; here, he worked even harder to find the rare nexus between showboat chops and clever songwriting. Trippy opener “Over the Mountain,” which kicks off with a thunderous drum roll, chugs along at a furious pace, anticipating thrash metal. “Believer,” with its plodding bass line, allows Rhoads to play eerie, spidery riffs, which, when combined with Osbourne’s stentorian melodies, make for one of the weirdest yet catchiest songs in the singer’s catalogue. “Tonight” is a beautiful ballad with a soaring solo; the rapid-paced, almost psychedelic “S.A.T.O.” exudes mystery; and shadowy “Diary of a Madman,” with its acoustic intro and crushing electric-guitar licks, is the ultimate Ozzy track. “When we were working on that one, Randy came to me, ‘I’m not happy with the guitars,’ so I said to work on it until you’re happy,” Osbourne once recalled. “He’s in there for a couple of days and one day comes out with this big, shit-eating grin and goes, ‘I think I’ve got it.’ And when he played it, the hair on the back of my fucking neck stood up.” K.G.

14. Black Sabbath, ‘Vol. 4’ (1972)

Black Sabbath, 'Vol. 4' (1972)

On their fourth album, Black Sabbath departed from the straightforward bludgeon that defined their early career and arrived at a sound that was somehow even heavier. Coked out of their minds (they even thanked their dealers in the liners), the group recorded in L.A. for the first time and allowed themselves to experiment musically. Tony Iommi had tuned his guitar lower to make it easier to play on 1971’s Master of Reality, and on Vol. 4 the shift inspired drawn out, emotional riffs (the brilliant opener “Wheels of Confusion”) and freewheeling hippie freak-out grooves (“Supernaut,” “Cornucopia”), while making space for now iconic guitar solos (“Snowblind,” an anthem to coke the way “Sweet Leaf” praised pot). They recorded their first piano ballad (“Changes,” which Ozzy Osbourne revived for a live solo hit in 1993) and an acoustic guitar solo (“Laguna Sunrise”), and went full-on druggie with “FX” – 99 seconds of echoey bleeps and bloops that years later may have inspired artier bands like Neurosis to play outside the box. It was the sound of a band reborn, just two years after their debut, starting a new chapter that would inspire everyone from Trent Reznor, who covered “Supernaut” with Ministry’s Al Jourgensen, to soul belter Charles Bradley, who took on “Changes.” But Osbourne later said it was the “beginning of the end” of Black Sabbath. “Cocaine was the cancer of the band.” K.G.

13. Iron Maiden, ‘Iron Maiden’ (1980)

Iron Maiden, 'Iron Maiden' (1980)

At the end of the Me Decade, the so-called New Wave of British Heavy Metal revitalized the genre with flashy use of speed, melody and aggression. One of the turning points in this upstart scene was Iron Maiden’s eponymous debut. Seasoned by years of club performances, the quintet combined the gritty heavy rock of UFO with the technical dexterity of prog groups like Genesis and Wishbone Ash. Steve Harris’ fleet-fingered bass lines carried the melody instead of traditionally anchoring the rhythm, while guitarists Dave Murray and Dennis Stratton alternated between abrasive riffs and intricately arranged dual harmonies. With singer Paul Di’Anno providing a swaggering growl, Iron Maidenwas at the same time confrontational (“Prowler,” “Running Free”), moody (“Remember Tomorrow,” “Strange World”), and in the case of the Jethro Tull–esque “Phantom of the Opera,” theatrical. Iron Maiden set the stage for a glorious seven-album run in the Eighties that would see the band become one of metal’s biggest acts. “It was probably one of the worst-sounding albums and we weren’t happy with the production,” Murray once told author Martin Popoff, “but for that time, it really captured the raw energy of the band.” A.B.

12. Judas Priest, ‘Screaming for Vengeance’ (1982)

Judas Priest, 'Screaming for Vengeance' (1982)

Just like its title suggests, Screaming for Vengeance was all about vindication, as this was where Judas Priest proved themselves once and for all as a force to be reckoned with. Where once the band hunkered in the underground, Priest were now storming the mainstream with platinum sales, an actual single on the Billboard charts (the aptly-titled “You’ve Got Another Thing Comin'”), and a headlining slot at the US Festival. “It was a new generation, it was a new decade,” singer Rob Halford told Rolling Stone later. “Everybody suddenly looked at this music and said, ‘Yeah, this is exactly what I want because I can relate to it. It talks about what I want out of life, and what I do.'” It also talks a lot about love. That love may be tinged with S&M (“Pain and Pleasure”) or described in terms of human sacrifice (“Devil’s Child”), but the music on Screaming for Vengeance, which begins with the one-two punch of “The Hellion” and “Electric Eye,” comes from the heart. As such, it’s almost a pity that “(Take These) Chains” didn’t follow “You’ve Got Another Thing Comin'” onto the charts, because the power-ballad formula has never sounded as deliciously malevolent as it does here. J.D.C.

11. Metallica, ‘Ride the Lightning’ (1984)

Metallica, 'Ride the Lightning' (1984)

Recorded before the band had even secured a major-label recording deal, Metallica’s second album remains the purest expression of the band’s vision, a document of a group who has found their sound but is neither overly self-aware, nor able to spend too much time navel gazing in the studio. “I love the sound of that album and it holds up really well,” guitarist Kirk Hammett told Rolling Stonein 2014. “We just bashed it out, which lead to a more natural performance. By the time we recorded our next record, Master of Puppets, the days of just bashing it out were much fewer.” You can hear the pure adrenaline pumping through tracks like “Fight Fire with Fire,” a grim ode to an inevitable nuclear apocalypse, and the gruesome “Creeping Death,” which recounts the divine culling of Egypt’s first-born sons from the Book of Exodus. Meanwhile, bleak power ballad “Fade to Black” showed off the dynamic mastery the band would explore further on later epics like “Master of Puppets” and “One,” while instrumental “The Call of Ktulu” ended the record on a memorably spooky note. The immediacy of Lightning‘s strike is only heightened by the youthful whine of frontman James Hetfield’s voice, which had yet to drop in register to the lower growl he would use to equal if more mature effect on subsequent Metallica releases. T.B.

10. Pantera, ‘Vulgar Display of Power’ (1992)

Pantera, 'Vulgar Display of Power' (1992)

After spending much of the Eighties as a regional Texas glam band, Pantera redefined themselves as a thrashy, proto-groove-metal outfit with 1990’s Cowboys from Hell. But it was on the aptly named follow-up that they truly hit their stride. “The mindset we took on, going into Vulgar Display of Power … [was] take the money riff and fucking go,” Phil Anselmo once explained, “[and] beat it into the ground.” And that they did. Here, the band shed any last vestiges of their flamboyant past (gone for good was Anselmo’s Rob Halford–like howl, still in evidence on CFH) and distilled their sound down to the essentials – Dimebag Darrell’s serrated rhythms and squealing solos; drummer Vinnie Paul and bassist Rex Brown’s lock-step pummel; Anselmo’s gruff bellow – cementing the approach that they would more or less follow for the remainder of their career. Furthermore, the material itself was incontestable. From the antagonistic thrust of opener “Mouth for War” to the galloping power-thrash of “Fucking Hostile,” the creepy murder balladry of “This Love” to the hulking, two-note stomp of “Walk” (later covered by everyone from Avenged Sevenfold to Disturbed), Vulgarboasts a shockingly high number of tracks that have become more or less standards of the genre. Re-spect! R.B.

9. Ozzy Osbourne, ‘Blizzard of Ozz’ (1980)

Ozzy Osbourne, 'Blizzard of Ozz' (1980)

Following his drunken, acrimonious exit from Black Sabbath, Ozzy’s music-industry stock was so abysmally low that he had trouble getting a new record deal – and not even his biggest fans would have guessed that he was on the verge of launching a major career comeback with his first solo album. Released in the U.K. in September 1980 (and six months later in the U.S.), Blizzard of Ozz was a remarkably strong and focused record whose highlights (including “I Don’t Know,” “Crazy Train” and the controversial “Suicide Solution”) were more modern-sounding than anything he’d done with Sabbath, yet still packed a serious metallic wallop. “The Blizzard stuff was a beautiful evolution from what was happening in the Seventies with metal to [metal in] the Eighties,” shred-guitar ace Steve Vai recalled in a 2011 interview. “It had a completely different attitude.” Much of the credit for that shift goes to the late guitarist Randy Rhoads, whose classically influenced fretboard acrobatics would profoundly influence an entire generation of metal guitarists. “The first album, none of us had played together,” he said in 1981. “We were putting the band together, writing the songs and being in the studio at the same time … the first album was, ‘Turn it up to 10 and if it feels good, just play it.'” D.E.

8. Megadeth, ‘Peace Sells … but Who’s Buying?’ (1986)

Megadeth, 'Peace Sells ... but Who's Buying?' (1986)

Three years removed from his dismissal from Metallica, Dave Mustaine still sounds like rage incarnate on Megadeth’s second LP, Peace Sells … but Who’s Buying? The band had tapped into an otherworldly fury on its debut, 1985’s Killing Is My Business … and Business Is Good – which balanced thrash with lead guitarist Chris Poland’s jazzy licks – but they’d blown their recording budget on drugs, leading to a shitty-sounding production. Peace Sells was their redemption: seven taut declarations of contempt for humanity and one tongue-in-cheek, extra-guitar-shreddy cover of Willie Dixon’s “I Ain’t Superstitious.” In the months between albums, they’d matured as musicians and had the quality sound to show it. The throbbing, bass-heavy title track showcased Mustaine’s mordant wit (“What do you mean I’m not kind?/I’m just not your kind”), and it was catchy enough to become MTV News‘ intro theme for well over a decade, mirroring the song’s video, which features with a teen in the middle of the clip defying his dad by putting on a Megadeth video and saying, “This is the news.” “I was living in a warehouse at the time I wrote ‘Peace Sells,'” Mustaine recently told Rolling Stone. “We were homeless, and I wrote the lyrics on a wall. I didn’t even have paper. And I’m sure once we moved out of there somebody probably carved that wall out and took it.” The rest of the record showcases Mustaine’s knack for intricate yet hard-hitting compositions and lyrical vitriol. “The Conjuring” contains a real black-magic spell in its lyrics (so says Mustaine) directed at one of the singer’s would-be girlfriends, while “Wake Up Dead,” with its lyrics about infidelity, explains why he may not be so good with the ladies. And musically, the classical-inspired “Good Mourning/Black Friday,” “Bad Omen” and “My Last Words” explode with Wagnerian triumphalism. Throughout it all, Mustaine barks his vocals like he’s going for the throat. Whatever inspired the record, this time, it was personal. K.G.

7. Motörhead, ‘No Remorse’ (1984)

Motörhead, 'No Remorse' (1984)

Heavy metal has never been much of a singles genre, as most of its practitioners mark their growth and development in album-length increments. But Motörhead is the exception that proves the rule. Across its 40-year history, the band – essentially singer-bassist Lemmy Kilmister and a string of guitarists and drummers – hewed to a simple formula: vocals barked over the hyperactive throb of a bass line, hell-for-leather drumming, and bar-band-basic rhythm guitar. As Lemmy told Sounds, “Chuck Berry never changed. Little Richard never changed. I’d rather be like that and stick to a formula we’re happy with.” It seems more fitting, then, to represent Motörhead with an anthology. No Remorsemay offer 29 versions of what is essentially the same thing, yet every track is singularly amazing: the yelping, bad luck refrain to “Ace of Spades,” the locomotive thunder beneath “Overkill,” the live-wire guitar on “Bomber,” the genius stupidity of “Killed by Death,” or the amphetamine overdrive of the live “Motorhead” from No Sleep ’til Hammersmith. Sometimes, a good formula is all you really need. J.D.C.

6. Slayer, ‘Reign in Blood’ (1986)

Slayer, 'Reign in Blood' (1986)

Reign in Blood, the first and last word on speed metal, starts at 210 beats per minute with the song “Angel of Death,” and it barely lets up for the next 29 blistering minutes. Its 10 songs are built on Kerry King and Jeff Hanneman’s rigid guitar riffs and abstract-expressionistic solos – metal’s equivalent to a Pollock paint splatter – all while drummer Dave Lombardo pounds out Olympic-ready tempos and singer-bassist Tom Araya hails Satan. But what set the band’s third album apart from Metallica, Exciter, Venom and all the other speed demons of the era was the way producer Rick Rubin, who’d made his name in hip-hop working with the Beastie Boys and LL Cool J, stripped the album of the echoey reverb in vogue at the time for a sound that seemed to punch you in the gut. “With their super-fast articulation in a big room, the whole thing just turns into a blur,” Rubin said in 2016. “So you don’t get that crystal clarity. So much of what Slayer was about was this precision machinery.” It’s what makes whirring declarations in the name of death like “Necrophobic” and “Criminally Insane” all the more impactful and the record’s final cut, “Raining Blood” – with its ominous intro – all the more terrifying. And it no doubt did them no favors with “Angel of Death,” a song about Nazi doctor Josef Mengele, which has lyrics that would have been incoherent with the typical rock production of the day; its lyrics outraged Holocaust survivors and cost the LP a distribution deal with Columbia, leading it to come out on Geffen. Writer Hanneman claimed the tune was a “history lesson.” Nevertheless, it solidified Slayer’s legacy of controversy and their need for speed. “We were young, we were hungry, and we wanted to be faster than everybody else,” Araya once saidK.G.

5. Black Sabbath, ‘Black Sabbath’ (1970)

Black Sabbath, 'Black Sabbath' (1970)

A few years after guitarists first started cranking their amps to eardrum-rupturing volumes and singers started wailing about Valhalla, heavy metal as we know it today was ratified in 1970 on Black Sabbath’s debut. The band, which had started as a blues group in ’68, drew inspiration from giallo horror movies (like 1963’s Black Sabbath, featuring Boris Karloff) and figured it could deliver the same thrilling, terrifying experience through rock & roll, leading them to write “Black Sabbath.” The tune, inspired by a frightening experience bassist Geezer Butler had (“I woke up in a dream world, and there was this black thing at the bottom of the bed, staring at me,” he once said), featured some of Ozzy Osbourne’s most ominous lyrics (“What is this that stands before me?/Figure in black which points at me,” as well as “eyes of fire” and a laughing Satan), and an eerie riff courtesy of guitarist Tony Iommi that used a chord once shunned by composers, known as diabolus in musica (“the Devil in music”) – the rain, thunder and bell sound effects were just grim icing. A few tracks later, on “N.I.B.,” Osbourne – whose stentorian voice, with its matter-of-fact inflection, has a harsh timbre strong enough to cut through Iommi’s guitar – sings about a deal with the Devil set to a stomping riff that presaged Eric Clapton’s “Cocaine.” And elsewhere, the group flexes its blues chops on “The Wizard,” the morbid “Behind the Wall of Sleep” (“Sleeping wall of remorse/Turns your body to a corpse”) and especially on “Warning,” the last of which features a flashy, extended Iommi solo. And on the jazzy “Wicked World,” on the U.S. edition, Osbourne sang about politicians sending people to war and others dying of diseases – topics that have since become rock cliché but at the time represented a chillingly frank worldview. “We used to do these auditions for record companies, and they’d just leave after the third song or something,” Butler recalled of the days before the album came out. “I’ll always remember one producer told us to go away, learn how to play and learn how to write some decent songs. We were rejected again and again by company after company.” But once the album was out, Black Sabbath started a movement. K.G.

4. Iron Maiden, ‘The Number of the Beast’ (1982)

Iron Maiden, 'The Number of the Beast' (1982)

By the time Iron Maiden hit the studio with veteran producer Martin Birch to record their third LP in 1982, the English quintet had already clawed its way to the forefront of the so-called New Wave of British Heavy Metal. Having replaced gruff lead vocalist Paul Di’Anno with Bruce Dickinson, a charismatic performer with operatic pipes, the stage was set for a creative breakthrough. There was just one problem: The band had exhausted its backlog of tunes. “They’d used up all the good stuff they’d had and they’d been on the road ever since,” Dickinson told biographer Mick Wall. “So it was quite good, in that way, because I wasn’t going to be asked to sing words that had already been written by Paul or songs Steve [Harris, bassist and chief songwriter] had written with him in mind. … We had time to think about the songs first.” Harris and his mates (including Dickinson, uncredited for contractual reasons) rose to the occasion, producing complex songs and heady lyrics that ideally suited the new singer’s dramatic range. The resulting LP, recorded and mixed in just five weeks, is one of metal’s all-time milestones: Galloping single “Run to the Hills” charted practically everywhere but in the U.S., where the video nonetheless became an early MTV staple; the title track remains a set-list fixture; and the closer, “Hallowed Be Thy Name,” was the first of Iron Maiden’s signature epics – and among the most durable. S.S.

3. Judas Priest, ‘British Steel’ (1980)

Judas Priest, 'British Steel' (1980)

In the Seventies, British metal – the down-tuned growl of “Iron Man,” the slow grind of “Smoke on the Water” – was about strength and heaviness, the sonic equivalent of I-beams. But as the cover of British Steel shows, Judas Priest was about to change that metaphor into something that cut like a razor. “When we first entered, our albums were very involved, our songs were very pre-arranged, a bit self-indulgent with the lead breaks,” guitarist Glenn Tipton told Musician. “But we shortened the length of the songs, we increased the excitement and the tempo in the songs, and we did something that everybody thought you couldn’t do, that was never acceptable as heavy metal: We introduced melody to it.” Despite the distorted roar of the guitars and the hectoring aggression of Rob Halford’s voice, the writing on British Steel was as lean and tuneful as any pop effort, from the power-chord refrain of “Living After Midnight” to the football-club sing-along that caps “United.” But the album’s most astonishing moment had to be “Metal Gods,” a swaggering evocation of rampaging robots driven by a drum and bass groove which can only be described as funky. For metal, slow and heavy would no longer win the race. J.D.C.

2. Metallica, ‘Master of Puppets’ (1986)

Metallica, 'Master of Puppets' (1986)

It begins like a Western with ominous acoustic guitars playing a triumphal, Spanish-sounding melody, but the intro to “Battery” is just a preamble to the galloping, crushing, grim and pugilistic riffs to come in the next hour. From start to finish, Master of Puppets is a masterpiece. Just two years after they introduced prettier melodies to the savage thrash they helped pioneer on Ride the Lightning, Metallica perfected the sound on Master with intricately arranged songs that ran a little longer and covered more musical ground. “Master of Puppets,” a tune frontman James Hetfield wrote after becoming disgusted from seeing junkies pass out at a party, stretches to eight-and-a-half minutes and fuses thrash with hardcore sing-alongs; jazzy, lyrical soloing; and maniacal psychodrama – it remains the band’s most requested and performed song at concerts. Meanwhile, “The Thing That Should Not Be” is a full-on sludge rocker, “Welcome Home (Sanitarium)” is the One Flew Over the Cuckoo’s Nest of metal ballads and the lengthy instrumental “Orion” – which features roaring lead bass by Cliff Burton, who died while touring in support of Master in 1986 – plays out like a classical composition, so full of musical drama that lyrics would kill its effect. Meanwhile, heavy, mid-paced rocker “Leper Messiah,” whose title references David Bowie’s “Ziggy Stardust,” foreshadowed the more groove-oriented, radio-friendly path the band would take on the Black Album in 1991. Only three years removed from Kill ‘Em All, they’d even perfected the pure sound of thrash: “Battery” hurls by at 190 punishing beats per minute, closing track “Damage Inc.” blindsides listeners with walloping stop-start rhythms at a death-defying pace, and “Disposable Heroes” is like a master class in thrash with its militaristic rhythms, catchy hooks and Hetfield snarling “Back to the front!” Master of Puppets is the sound of a band in top form, and it’s the album that made Metallica. “When I listen to Master of Puppets now, I just sit there and go, ‘What the fuck? How do you do that?'” Lars Ulrich said with a laugh in 2016. “It’s very gutsy music.” K.G.

1. Black Sabbath, ‘Paranoid’ (1970)

Black Sabbath, 'Paranoid' (1970)

It’s impossible to imagine what heavy metal would have become without the iconic gloomy riff of “Iron Man,” the musical thickness of “War Pigs” and the rapid-fire chugging of “Paranoid.”

Paranoid is important because it’s the blueprint for metal,” Judas Priest frontman Rob Halford said in the liner notes for a 2016 reissue of the album. “It led the world into a new sound and scene.” From the first track to the last, Ozzy Osbourne’s cutting voice outlines any manner of topics that would feature in metal over the next few generations: imminent doom, drug casualties, nuclear war, brutality, uncaring autocrats, cosmically fated love and general disillusionment. The music is dark and gloomy with blues-inspired guitar riffs that other groups have Xeroxed into an unrecognizable oblivion. The album even has a drum solo.

The way the band members have told it over the years, they arrived at the sound of Paranoid through endless gigging before they were famous, playing several sets a night at residencies in Hamburg and Zürich to almost nonexistent audiences. They’d stretch out a tune like “Warning,” the epic blues guitar showcase on Black Sabbath, to the point that it proffered the main riff of “War Pigs” – a tune whose original lyrics under the title “Walpurgis” narrated a black mass. “Rat Salad” was Bill Ward’s drum solo in the early days and it could last up to 45 minutes. The ominous bass part in “Hand of Doom” by Geezer Butler, who also wrote the majority of Paranoid’s bleak lyrics, came from improvising. And the funky “Fairies Wear Boots” was loosely based on a real, incredibly violent fight the band got into with a group of skinheads after a gig in the north of England (the slur “fairy” was meant to emasculate their attackers, who wore boots). Butler wrote about his own disillusionment with a sci-fi twist in the lyrics to “Iron Man” (which had nothing to do with the Marvel comic-book character).

For the bassist, who, like the rest of the band grew up in a bleak postwar environment – bombed-out Birmingham, England – it was easy for him to describe dystopias like those in “War Pigs” and “Electric Funeral.” He even gave the hippie-ish love song “Planet Caravan,” with its bongos and jazzy flamenco guitar line, cold, distant, fantastical lyrics about feeling lost in space. And he simply described his own depression on “Paranoid,” a throwaway tune written at the last minute to fill out an LP side, with witty aplomb in turns of phrase like “Make a joke and I will sigh and you will laugh and I will cry.” Yet it resounded, becoming a huge hit and one of the group’s most-performed songs.

Paranoid was the sound of Black Sabbath’s reality, a plea for understanding that would resonate with millions of people feeling the same disaffection, many of whom would form groups like Metallica, Pantera and Slipknot – groups that would change the face of metal, as well as the world. “Bands on Ozzfest would tell me Sabbath was their biggest influence,” Osbourne once said. “I’d listen to them and go, ‘What part of that did Sabbath influence?'” “It doesn’t sound anything like heavy metal to me,” Butler once said. “But it’s better to be called inventors rather than followers.” Regardless, the album was metal’s call to arms, and it’s been answered loudly and passionately ever since. K.G.



Posted by: bluesyemre | August 1, 2017

Global #Literature in #Libraries Initiative


The Global Literature in Libraries Initiative strives to raise the visibility of world literature for adults and children at the local, national and international levels.


Sevmek Güzel Meslek sergisi, sanatçının ilk eserinden son eserine her döneminden eserleri kapsıyor. Serginin en önemli özelliklerinden birisi bugüne kadar yapılmış en kapsamlı Bedri Rahmi Eyüboğlu retrospektif sergisi olmasıdır. Bir başka ayrıcalık ise sergide ilk defa sanatseverlerin karşısına çıkacak eserlerin mevcut olmasıdır. Sergide ayrıca sanatçının mektupları, fotoğrafları, özel eşyaları, farklı disiplinlerde yaptığı eserleri yer alıyor.

Serginin küratörlüğünü, sanatçının son asistanı İbrahim Örs ve yine sanatçının eski öğrencilerinden Hanefi Yeter yapıyor. Ailesinden alınan eserlerin yanında birçok özel koleksiyondan alınan toplam 200 civarında eser sanatseverlerin beğenisine sunuluyor.

Bedri Rahmi Eyüboğlu (1911-1975)

Giresun Görele’de doğmuş,  21 Eylül 1975’te İstanbul’da vefat etmiştir.

1927’de Trabzon Lisesi’nde okurken, bu okula resim öğretmeni olarak atanan Zeki Kocamemi’nin öğrencisi olmuş, onun derslerinin etkisi ve okul müdürünün özendirmesiyle 1929’da İstanbul Güzel Sanatlar Akademisi’ne (şimdi Mimar Sinan Güzel Sanatlar Üniversitesi) girmiştir. Burada Nazmi Ziya ve İbrahim Çallı’nın derslerine katılmıştır. 1932 yılında Paris’e, ağabeyi Sabahattin Eyüboğlu’nun yanına giderek 1 ay süreyle André Lhote’un atölyesinde resim çalışmıştır. Daha sonra evleneceği Rumen asıllı eşi Eren Eyüboğlu (Ernestine Letoni)ile de burada tanışmıştır. Bu tarihlerde Matisse, Brague ve Chagall’ın resimleri ile Türk geleneksel sanatlarını incelemiştir.

Bedri Rahmi, 1934 yılında, Yeni Adam dergisinde ressam olarak çalışmaya başlamış ve bu dönemde şiirleri de edebiyat dergilerinde yayımlanmaya başlamıştır. Akademi Diploma yarışmasında “Yol İnşaatı” konulu resmi ile üçüncü olan Bedri Rahmi, bu sonuçtan memnun kalmayarak yeniden yarışmaya hazırlanmak için mezun olmamayı göze almıştır. 1934 yılında 30 resim ile D Grubu Sergisi´ne katılmıştır. 1935 yılında ise ilk kişisel sergisini Bükreş’te açmıştır.

1936’daki diploma yarışmasında Hamam adlı kompozisyonuyla birinci olmuştur. Cumhuriyet devrinin ilk yurt dışı sergisi olan ve Moskova’da gerçkeleştirilen Türk Resim ve Heykel Sergisi´ne üç resim ile katılmıştır.

1937’de Cemal Tollu’yla birlikte Akademi’nin Resim Bölümü Şefi Léopold Lévy’nin asistanı olan Bedri Rahmi, birçok ressamın katıldığı CHP’nin kültür programı çerçevesinde “Yurt Gezileri” kapsamında resim yapmak için 1938’de Edirne’ye gitmiştir. Bu dönem resimlerinde köy manzaraları, köy kahveleri, faytonlu yollar, iğde dalı takmış gelinler gibi Anadolu’ya özgü görünümler egemendir. 1939 yılında Birinci Devlet Resim ve Heykel Yarışması’nda “Figür” adlı yapıtı ile üçüncülüğü Arif Kaptan ile paylaşmıştır. 1941 yılında ‘Yaradana Mektuplar’ adlı ilk şiir kitabını yayımlamıştır.

1940’lardan sonra duvar resimlerine yönelen Eyüpoğlu, 1941’de de yine ‘Yurt Gezileri’ ile Çorum’a ve İskilip’e gitmiştir. İskilip gezisi onun resim anlayışı üzerinde derin etkiler bırakmıştır. Resimlerinde han avluları, halay çekenler, çocuk emziren kadınlar, saz çalan âşıklar gibi temaları işlemeye başlamıştır. 31 Ekim1942 tarihinde Dördüncü Devlet Resim ve Heykel Yarışması’nda ikincilik ödülünü kazanmıştır.

İlk duvar resmini 1943’te İstanbul’da, Ortaköy’deki Lido Yüzme Havuzu için yapmıştır. 1947 yılında ‘10’lar’ grubunun kurucularından biri olarak Bedri Rahmi, 1950 yılında Ankara’da ‘retrospektif’ (geçmişe, geriye dönük) bir sergi düzenlemiş ve büyük ilgi görmüştür. Bedri Rahmi aynı yıl Paris’te bulunan İnsan Müzesi’nde (Musée de l’Homme) ilkel kavimlerin sanatını incelemiştir. Bu incelemeleri, onu “güzel”in aynı zamanda “yararlı” da olabileceği, “yararlı” olmanın “güzel”in gücünü eksiltmeyeceği” düşüncesine ulaştırmış ve sanatını bu felsefe yönlendirmeye başlamıştır.

Mozaik çalışmalarına 1950’lerde başlayan sanatçı, 1958’de Uluslararası Brüksel Sergisi için 272 m²’lik bir mozaik pano gerçekleştirmiş ve bu yapıtıyla serginin büyük ödülü olan altın madalyayı kazanmıştır. Bundan bir yıl sonra Paris’teki NATO yapısı için, şimdi Brüksel’de bulunan, 50 m²’lik bir mozaik pano hazırlamıştır. 1960 ve 1961’de ABD’ye gitmiştir. 1969’da Sao Paolo Bienali’nde Onur Madalyası kazanmıştır.

1940’ta 2. Devlet Resim ve Heykel Yarışması’nda resim dalında üçüncülük, 1943’te aynı yarışmanın 4’üncüsünde ikincilik ve 1972’de de 33. yarışmada birincilik ödülünü alan Bedri Rahmi; ölümünden sonra 1976’da Ankara’da “Yaşayan Bedri Rahmi” adıyla ve İstanbul’da da Devlet Güzel Sanatlar Akademisi’nde adına düzenlenen bir sergiyle anılmıştır. 1984’te İstanbul’da “Bedri Rahmi-Her Dönemden” adlı bir toplu sergisi açılmıştır.

Bedri Rahmi Eyüpoğlu, Akademi’deki ilk yıllarından sonra temel bilgilerini Paris’te André Lhote’un akademisinde edinmesine karşın onun kübist ve yapımcı (konstrüktif) yaklaşımını benimsememiş, Dufy ve Matisse’i kendine daha yakın bulmuştur. Paris’ten döndükten sonra Anadolu ve Trakya gezilerinde yaptığı resimlerde, İstanbul görünümlerinde Dufy’nin renk ve çizgi anlayışının etkileri görülür. Zamanla bu etkiden sıyrılan Bedri Rahmi, halk sanatını sağlam bir kaynak olarak görmeye başlamıştır. Halk sanatından yola çıkarak yeni anlatım biçimleri aramış, minyatürlerden de esinlenmiştir. Anadolu kilimlerinin geometrik, soyut biçimleri; çini, cicim, heybe, yazma ve çorapların bezeme düzeni ve renk uyumlarını kaynak olarak kullanmış, motifin ağırlık kazandığı süslemeci bir tutumla resimler yapmıştır. Ancak yalnızca motifleri resme uygulamakla yetinmemiş, renk ve malzeme araştırmalarına da girmiştir. Çeşitli teknikleri deneyerek gravür, mozaik, heykel ve seramik alanlarında birçok ürün vermiştir. Yine bir halk sanatı olan yazmacılığa da yönelmiş, kumaş üstüne baskılar yapmış, bu çalışmalarını öğrencileriyle birlikte de yürütmüştür.

İki yıl kadar süren ABD gezisinden sonra değişik malzemelerden yararlanarak soyut resimler ve renk düzenlemelerine yönelmişse de, yaşamının son yıllarında yeniden eski konularına dönmüştür. Kemençeciler, gecekondular, hanlar, kendi portreleri, balıklar ve kahvelerle, yeni renk ve doku deneyimlerinden de yararlanarak, doğaya eğilişin ustaca ve yetkin örneklerini vermiştir. Çağdaş resim öğelerini de içeren bu çalışmalarında, konu soyuta yaklaştığı oranda, resmin de bir tür “nakış”a dönüştüğü izlenir.

Bedri Rahmi Eyüpoğlu, 1927’de başladığı resim öğretmenliğini ölümüne değin sürdürmüş, Akademi’deki atölyesinde sayısız öğrenci yetiştirerek, çağdaş Türk resmi için bu açıdan da etkili ve yararlı olmuştur.

Bedri Rahmi’nin edebiyatçı yönü de onu önemli kılmaktadır. 1928’de daha lise öğrencisiyken şiir yazmaya başlamıştır. Şiirlerine, 1933’ten sonra Yeditepe, Ses, Güney, İnsan, İnkılâpçı Gençlik ve Varlık dergilerinde yer verilmiştir. 1941’den başlayarak çeşitli şiir kitapları yayımlamıştır. Halk edebiyatının masal, şiir, deyiş gibi birçok türüne duyduğu hayranlık, şiirlerine de yansımıştır. Halk dilinden ve şiirinden aldığı öğeleri, kendine özgü bir biçimde kullanarak, şiir dilini halk diline yaklaştırma çabasını sonuna dek götürmüştür. Bu nitelikleriyle şiirleri, resimleriyle büyük bir benzerlik gösterir. Akıcı, rahat bir dille kaleme aldığı gezi ve deneme yazılarında ise sürekli gündeminde olan halk kültürü, halk sanatı konularındaki görüşlerini sergilemeyi sürdürmüştür.

Şiirlerinde masallardan, söylencelerden, türkülerden yararlanan Eyüpoğlu, insan ve doğa sevgisi, yaşama sevinci, toplumsal sorunları ele almıştır.


Posted by: bluesyemre | July 27, 2017

Ankara Kitabevlerine Dair…Turan Tanyer

ankara kitabevleri


Posted by: bluesyemre | July 27, 2017

#Erasmus+ Gençlik projeleri ne kadar etkili (#infografik)


Erasmus+ Gençlik projeleri ne kadar etkili


Everyone knows that you’re not supposed to judge a book by its cover. But no one said anything about the first line. In fact, we think that the first line of a book is often the most revealing. When done right, it should tantalize, intrigue and tell you something fundamental about the pages to follow. Here are ten of the very best.

first sentence karenina



“All happy families are alike; each unhappy family is unhappy in its own way.”

The first line to Tolstoy’s epic tragedy is famous for good reason: It’s full of wisdom, and it lets readers know that they’re in for some serious family drama. And what’s better than family drama (as long as it’s not your own)?


first sentence purple



“You better not tell nobody but God.”

Celie, the narrator of Alice Walker’s masterpiece, is a poor, uneducated black girl living in the South in the 1930s. She tells her secrets to God, because she has no one else. Here, in just a few words, we get a taste of Celie’s strong voice and her terrible heartbreak.


first sentence martian



“I’m pretty much fucked.”

If you saw the movie, you already know that astronaut Mark Watney is a pretty funny guy, even when he’s been abandoned on Mars. There’s plenty of tension (and math) in Andy Weir’s novel, but we love it as much for the warm humor, which is evident from the very first line.


first sentence middlesex



“I was born twice: first, as a baby girl, on a remarkably smogless Detroit day of January 1960; and then again, as a teenage boy, in an emergency room near Petoskey, Michigan, in August of 1974.”

The first line to Eugenides’s Pulitzer Prize-winning novel is a textbook example of efficient writing. In a single sentence, he manages to set up the novel’s oh-so-intriguing premise (ICYMI, the book is about a hermaphrodite), as well as the time period and place.


first sentence mobydick



“Call me Ishmael.”

And call us predictable. It’s probably the most famous first line in literary history. We included it because it’s got panache. Novels at the time were not exactly into succinct sentences (see: all of Dickens) and Moby Dick continues with some equally flowery prose pretty quickly. But with this short, mysterious declaration, Melville shows that he knows how to make an entrance.


first sentence4001



“The snow in the mountains was melting and Bunny had been dead for several weeks before we understood the gravity of our situation.”

OK, who is Bunny and why is he dead? We’re only one line in and we have an almost physical need to keep reading. Donna Tartt’s addictive debut, about an obsessive clique embroiled in a murder mystery, hits the ground running (and with gorgeous prose, to boot).


first sentence pride



“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”

Another oft-quoted oldie-but-goodie. Jane Austen’s first line gets us right in the thick of the complicated world of 19th-century social life, and introduces us right away to her slightly cheeky tone.



first sentence lolita



“Lolita, light of my life, fire of my loins. My sin, my soul.”

We never thought that the (fictional) jailhouse memoir of a creepy pedophile would end up being one our of favorite books of all time. But damn, the man can write.


first sentence goon



“It began in the usual way, in the bathroom of the Lassimo Hotel.”

We love the idea of anything beginning “in the usual way” in a hotel bathroom. The first line of Jennifer Egan’s Pulitzer Prize-winning collection of linked stories is, like the rest of the book, quirky and totally unique.


first sentence handmaids



“We slept in what had once been the gymnasium.”

Though the first line of Margaret Atwood’s dystopia is simple, there’s an undeniably ominous tone, and it raises many more questions than it answers—an ideal start to a terrifying, mind-bending book.




Posted by: bluesyemre | July 26, 2017

Is the #e-book a dead format?

Woman holding tablet in front of face at home

Nowadays, the ebook has a reputation for technological conservatism – so it is easy to forget that there was significant anticipation for the Kindle’s arrival ten years ago.

In a 2009 editorial, The Bookseller declared the device was “a giant leap for all”. The Kindle was frequently compared to the iPod’s transformative effect on the music industry. No wonder – the ebook format promised several advantages. Users could adjust typographic settings for improved accessibility; there was an increased level of portability; and the move to digital distribution promised the ability to purchase publishers’ extensive back catalogues.

But despite the early promise of the ebook, many are questioning whether it has lived up to these expectations. In recent years, the ebook has faced significant backlash amid reports of declining sales in trade publishing. The Publishing Association Yearbook 2016 noted a 17% slump in the sale of consumer ebooks while physical book revenue increased by 8%. Over the last couple of years, audiobooks have replaced ebooks as digital publishing’s critical darling on the back of a rapid increase in revenue. In this climate, several commentators have asked “how ebooks lost their shine.”




Posted by: bluesyemre | July 26, 2017

#NejdetDemirtaş (Su altı fotoğraf sanatçısı)

Dünyada ve Türkiye’de sosyo politik konuları sualtında kurgusal olarak sunan ilk ve tek fotoğraf sanatçımız Çocuk Gelinler,Madende hayatlarını kaybedenler,Çanakkale şehitleri ve kamera arkası görüntüler. Bugüne kadar birçok kez yorumlanan Çanakkale Savaşının hikayesini ilk defa sualtında farklı bir teknikle görüntüleyen Necdet Demirtaş, savaşın acımasızlığını gözler önüne sererek Türkiye ve Dünyadaki sosyal konuları su altında kurgulayarak insana ve doğaya ait sorunları konusu yapmaya devam etmektedir.



Posted by: bluesyemre | July 25, 2017

#Türkçe yazıldığı gibi okunmaz

turkce-yazildigi-gibi-okunmaz (1)

Türkçe, yazıldığı gibi okunan bir dil değildir. Tüm dünya dillerinde olduğu gibi, Türkçe’de de standart konuşma dili kuralları bulunmaktadır. Aşağıda, bu kuralların bazılarına ilişkin açıklayıcı bilgiler ve örnek sözcükler bulacaksınız:

Kaynaşma ünsüzlerinden <y>, eylem köklü bir sözcükte bulunuyorsa konuşma dilinde kendisinden önceki ünlü daralır.


arayan – arıyan,

gelmeyen – gelmiyen,

olmayan – olmıyan,

görmeyen – görmiyen gibi.

Gelecek zaman eki [AcAk], konuşma dilinde c’den önceki ünlünün daraltımıyla sesletilir.


yapacak – yapıcak,

gelecek – gelicek,

olacak – olucak,

dönecek – dönücek,

duracak – durucak,

gülecek – gülücek gibi.

Kaynaşma ünsüzü <y> ile gelecek zaman eki [AcAk] birlikte kullanıldığında, konuşma dilinde <y>’den önceki ünlü daralır, y ile c arasındaki ünlü düşer.


arayacak – arıycak,

gelmeyecek – gelmiycek,

olmayacak – olmıycak,

görmeyecek – görmiycek,

duymayacak – duymıycak,

bükülmeyecek – bükülmiycek gibi.

Ulama: Bir sözcük ünsüzle bitiyorsa, onu izleyen sözcük ünlüyle başlıyorsa, durak yoksa ya da ulamanın etkisiyle anlam farklılığı olmuyorsa, ünsüzle ünlüyle birleştirilerek sesletilir. Daha sonra, öğretmenin örnekler yazıp ulama yapılacak yerlerin altını çizmesi.


kalem almak,

top oynamak,

çay içmek,

ekmek almak,

dün akşam,

sonuç olarak.

Türkçede bazı sözcüklerde ses düşmesi görülebilir. Bunlardan bazıları şunlardır: Burada, şurada, orada, nerede, içeride, dışarıda. Bu sözcüklerin okunuşları burda, şurda, orda, nerde, içerde, dışarda biçimindedir.Haber metinlerinde, resmi ya da bilimsel nitelik taşıyan metinlerin aktarımında bu kural uygulanmaz.


stronger together

Much has been written about collaborations between public and academic libraries. These collaborations generally take the form of joint libraries, special programs or consortia. They are motivated by the desire to do public outreach or community building or to provide better facilities, services or library resources to users from both library systems or, in the case of consortia, by economics.
Since the library website is now the most common entry point to an academic library, this paper explores the opportunities for building connections between an academic and public library’s resources by hyperlinking to public library resources. Deepening these connections supports the mission of both types of organizations, namely to foster lifelong learning. It also suggests how such virtual collaborations, namely hyperlinking, can be used to set the stage for future collaborations



Is there a way to write the perfect bestselling book? What makes a bestseller? Can you distill what makes a bestselling book into its constituent parts? To find out, we analysed the ten bestselling books from each of the last ten years to discover what, if any, similarities they share. Could we find out how to create the perfect bestseller? After many months of meetings and arguments, we’ve put together the below formula. Simply follow its steps for a guaranteed bestselling book.



“Reading is the nourishment that lets you do interesting work,” Jennifer Egan once said. This intersection of reading and writing is both a necessary bi-directional life skill for us mere mortals and a secret of iconic writers’ success, as bespoken by their personal librariesThe Top Ten: Writers Pick Their Favorite Books asks 125 of modernity’s greatest British and American writers — including Norman MailerAnn PatchettJonathan FranzenClaire Messud, and Joyce Carol Oates — “to provide a list, ranked, in order, of what [they] consider the ten greatest works of fiction of all time– novels, story collections, plays, or poems.”

Of the 544 separate titles selected, each is assigned a reverse-order point value based on the number position at which it appears on any list — so, a book that tops a list at number one receives 10 points, and a book that graces the bottom, at number ten, receives 1 point.

  1. Lolita by Vladimir Nabokov
  2. The Great Gatsby by F. Scott Fitzgerald
  3. In Search of Lost Time by Marcel Proust
  4. Ulysses* by James Joyce
  5. Dubliners* by James Joyce
  6. One Hundred Years of Solitude by Gabriel Garcia Marquez
  7. The Sound and the Fury by William Faulkner
  8. To The Lighthouse by Virginia Woolf
  9. The complete stories of Flannery O’Connor
  10. Pale Fire by Vladimir Nabokov
  1. Anna Karenina* by Leo Tolstoy
  2. Madame Bovary* by Gustave Flaubert
  3. War and Peace by Leo Tolstoy
  4. The Adventures of Huckleberry Finn by Mark Twain
  5. The stories of Anton Chekhov
  6. Middlemarch* by George Eliot
  7. Moby-Dick by Herman Melville
  8. Great Expectations* by Charles Dickens
  9. Crime and Punishment by Fyodor Dostoevsky
  10. Emma* by Jane Austen
  1. William Shakespeare — 11
  2. William Faulkner — 6
  3. Henry James — 6
  4. Jane Austen — 5
  5. Charles Dickens — 5
  6. Fyodor Dostoevsky — 5
  7. Ernest Hemingway — 5
  8. Franz Kafka — 5
  9. (tie) James Joyce, Thomas Mann, Vladimir Nabokov, Mark Twain, Virginia Woolf — 4
  1. Leo Tolstoy — 327
  2. William Shakespeare — 293
  3. James Joyce — 194
  4. Vladimir Nabokov — 190
  5. Fyodor Dostoevsky — 177
  6. William Faulkner — 173
  7. Charles Dickens — 168
  8. Anton Chekhov — 165
  9. Gustave Flaubert — 163
  10. Jane Austen — 161


The Parthenon was built in Athens at the instigation of Pericles, under the supervision of the sculptor Phidias, between 447 and 38 BCE. The structure is ten meters high by seventy meters long and thirty meters wide. The temple was conceived to house a colossal gold statue of Athena, as well as the Delian League’s treasury and the city’s silver reserves—in the event of a Persian attack, these precious metals could be melted down and made into new coins to finance war. Transformed into a Christian church in the Middle Ages, then into a mosque during the Renaissance, the deconsecrated Parthenon of the modern period became a symbol of democracy and of Western cultural supremacy.


Marta Minujín, born in Buenos Aires in 1943, seized this aesthetic and political archetype of democracy for her own situation: corrupted by a “national Catholic” dictatorship that reigned in Argentina up until 1983, she put the democratic ideal back into circulation at the moment when the military junta fell. Her artistic project was part of her series “La caída de los mitos universals” or “The Fall of Universal Myths,” which appropriated monumental icons to replicate them, break them up into pieces, and redistribute them into the public realm. In a certain way, the artist gives back to these symbols—reified and confiscated by institutionalization or capitalization—their status as offerings. For El Partenón de libros (The Parthenon of Books, 1983), 25,000 books, taken from cellars where they had been locked up by the military, covered a scale replica of the Greek edifice; built out of metal tubes and elevated to one side, this Parthenon was placed in a public square in the southern part of Buenos Aires.

Minujín’s monuments to democracy and to education through art revive the ceremonies of archaic societies—contrary to the banning of books by the junta’s army and different from the privatization of public property that, through speculating on the debt of the state, encourages the suppression of public-sector services and creates social shortages. In her mass-participation projects, Minujín rediscovers the initial value of a collective treasure; she melts shared capital back down into cultural currency without remainder. She lays down the verticality of public edifices that embody confiscated cultural knowledge and a hidebound heritage. She dilapidates the fortune these myths represent. By literally tilting these symbols, Minujín not only gives new meaning to these monuments, she offers them a new sensuality.

—Pierre Bal-Blanc




Posted by: bluesyemre | July 21, 2017

Aslolan duygulardır (Duyguları konu alan animasyonlar)



1955’ten beri beş yılda bir Almanya’nın Kassel kentini bir çağdaş sanat müzesine dönüştüren documenta sergilerinin daimi merkezi Fridericianum’un tepesinde müzenin adının yazıldığı harfleri söken Banu Cennetoğlu, bu harflere aynı tasarım ve ebatta birkaç tane daha ekleyerek müzeye bambaşka bir ad vermiş: ‘Güvende Olmak Korkutucu’.






Amazon Inspire is a service that provides educators a place to discover, manage, rate, review, and share educational resources. Teachers, schools, districts, and third-party publishers contribute to the Amazon Inspire library of instructional resources across the country. Amazon Inspire will help educators discover digital resources, benefit and learn from the work of their peers, and help improve the quality of education across the country.




Whether you’re a new academic library director or a goal-minded manager, you can take concrete steps to gain and strengthen the leadership skills necessary for the job. That’s the empowering message of this new collection which offers critical reflection to illuminate the path ahead. Featuring contributions from seasoned veterans sharing several careers’ worth of lessons learned, this book

  • explores key facets of beginning leadership such as surviving the first year, the art of asking, and becoming a supervisor;
  • deals with strategic planning, team-building, shared governance, forming and maintaining important relationships, community outreach, and other crucial skills;
  • discusses safety, personnel-related legal issues, building a new library, managing change, and other potentially stressful situations; and
  • includes a chapter on cultural diversity programming.

This work offers a starting point from which academic library directors and aspirants can learn about various leadership skills and then plan their own professional development accordingly.



This study explores the collaborative nature and interdisciplinarity of the origin(s) of life (OoL) research community. Although OoL research is one of the oldest topics in philosophy, religion, and science; to date there has been no review of the field utilizing bibliometric measures. A dataset of 5647 publications that are tagged as OoL, astrobiology, exobiology, and prebiotic chemistry is analyzed. The most prolific authors (Raulin, Ehrenfreund, McKay, Cleaves, Cockell, Lazcano, etc.), most cited scholars and their articles (Miller 1953, Gilbert 1986, Chyba & Sagan 1992, Wȁchtershȁuser 1988, etc.), and popular journals (Origins of Life and Evolution of Biospheres and Astrobiology) for OoL research are identified. Moreover, interdisciplinary research conducted through research networks, institutions (NASA, Caltech, University of Arizona, University of Washington, CNRS, etc.), and keywords & concepts (astrobiology, life, Mars, amino acid, prebiotic chemistry, evolution, RNA) are explored.


Posted by: bluesyemre | July 20, 2017

Why we’re all in #OpenSource now – Kristen Ratan


Bochum – Deutsches Bergbau-Museum – Starrer Ausbau einer Strecke mit Stahl, image by Daniel Mennerich

For a long time, even an open source advocate might have written a passionate plea about it from a Windows operating system. Most PCs and laptops were the domain of Microsoft, whose then-CEO Steve Ballmer once compared open source to cancer. Those days are longgone, as the company’s recent OpenDev event (tagline: “See what’s possible with open source in the cloud”) attests.

Open source has gone mainstream enough to power everything from the UK taxpayer system to breathalyzers and the New York Stock Exchange. And today, chances are good that you’re reading this on an Android device; Google’s open-source operating system now covers 86.8% of the market.

Open source is everywhere, thanks in large part to Linux — the kernel and various open-source components are now widely found in embedded systems. The car industry is a good example of why it makes sense: the most advanced part of your vehicle today just may be the onboard computer. These Linux-embedded dashboard devices offer voice recognition, mapping, text messages, climate control, collision sensors, entertainment systems and more. As they become ever more sophisticated, manufacturers need to keep costs from spiraling too high and retain control over the software architecture. With open source, they can choose from multiple vendors at every level — and still maintain direct control of the system, something not possible with proprietary software. By 2020, Linux is expected to be the leader in the market with 53.7 million devices on the road.


IDB_Kitap_kapak - Mailing

Araştırmacılar ve doğa tutkunları için önemli bir kaynakça niteliğindeki “İstanbul’un Doğal Bitkileri” kitabı; İstanbul Üniversitesi Orman Fakültesi Orman Botaniği Anabilim Dalı Başkanı ve ÇEKÜL Yüksek Danışma Kurulu Üyesi Prof. Dr. Ünal Akkemik’in yıllar süren araştırmalarının bir ürünü. 1152 sayfadan oluşan kitap, İstanbul’un bitki çeşitliliğini gözler önüne seriyor. 8 bin 500 yıllık tarihi bir kent olan İstanbul’daki kentleşme politikaları, yoğun nüfus baskısıyla birlikte bazı bitki türlerini doğrudan etkiliyor. Ünal Akkemik, hazırladığı bu kapsamlı çalışmayla; bu eşsiz coğrafyayı paylaştığımız doğal hayata ve kent içinde bulunan bitkilere ilgi gösterirken, ilgiye bilgi katmayı da öneriyor. Üç iklim ve flora kuşağının kesişme noktasında bulunan İstanbul, dikkat çeken bir bitki tür sayısına sahip. İstanbul’da yaklaşık 2200 bitki türünün varlığını saptayan Prof. Dr. Ünal Akkemik, kitabında 982 tanesine yer verdi. Bitki tanımını kolaylaştıran fotoğraflarla desteklenen hacimli çalışmasını çiçek renklerine göre 9 ayrı bölümde kurguladı. Kitapta, İstanbul’da yok olma tehlikesi altındaki türleri de incelemeniz mümkün.


Dijital devrimle birlikte kütüphaneler birçoğumuz için uzaklarda kalmış olsa da o ortamın sakinliğini ve kitapların huzur dolu kokusunun yerini hiçbir yer tutamaz. Hele bir de dünyanın en iyi kütüphanelerini düşündüğümüzde içinden çıkmak istemeyeceğimiz mekanlar olduklarını tekrar hatırlıyoruz.

Admont Abbey Library

Admont Abbey Library

The George Peabody Library

The George Peabody Library

The Black Diamond (The Royal Library)

The Black Diamond (The Royal Library)

Musashino Art University Museum &amp; Library

Musashino Art University Museum & Library

Boston Public Library

Boston Public Library


Posted by: bluesyemre | July 19, 2017

2CELLOS (Croatian #cello duo)

“…Go and see them live, because it really is astonishing! I can’t remember seeing anything as exciting as them since I saw Jimi Hendrix live back in the 60’s…”
Sir Elton John

Crafty, Croatian cello duo 2Cellos first garnered public attention after uploading a cello-only cover of Michael Jackson’s “Smooth Criminal” to YouTube. Formed by longtime friends and seasoned players Luka Sulic and Stjepan Hauser, the pair inked a deal with Sony Masterworks in 2010 and released their eponymous debut album the following year, which featured cello-centric covers of tracks from the likes of U2 (“Where the Streets Have No Name”), Kings of Leon (“Use Somebody”), and Nine Inch Nails (“Hurt”), as well as a new version of the Michael Jackson track that helped launch their pop careers. It reached number one on the Billboard Classical Albums chart.

In2ition, released in 2013, mined the same pop/rock territory, with highlights arriving via classical crossover takes on songs from AC/DC (“Highway to Hell”) and Coldplay (“Clocks”), and the Šulić and Hauser original, “Orient Express.” The duo’s third studio album, 2015’s Celloverse, included spirited takes on Iron Maiden’s “The Trooper,” AC/DC’s “Thunderstruck,” and Mumford & Sons’ “I Will Wait.” 2Cellos next went to the movies with 2017’s Score, including material from film and television (among others, Game of Thrones, Titanic, Chariots of Fire, Braveheart, and The Lord of the Rings: The Fellowship of the Ring). A collaboration with the London Symphony Orchestra, led by conductor and arranger Robin Smith, it became their fourth straight appearance in the Billboard 200 and their third classical number one. ~ James Christopher Monger







The value of trees and plants in the urban environment is well documented: they improve air quality, shade against heat and provide an antidote to congestion, traffic and the pace of city life. Making available significant ‘green’ living space is now virtually mandatory for cities around the world. But are they up to scratch?

To answer this question reliably, researchers at Massachusetts Institute of Technology (MIT) teamed up with World Economic Forum to create Treepedia, a website which measures and compares cities’ green canopies.


Using Google Street View data, Treepedia is a tool for both city planners and dwellers. Urbanites can inspect the location and size of trees in their neighbourhoods as well as input their own data and request for more trees to be planted where they live.

In addition to visualising cities’ green spaces, a metric called the ‘Green View Index’ helps city planners to evaluate and compare green canopy coverage relative to other global cities.


% of public green space (parks and gardens)

The Green City Index

Urban Europe – statistics on cities, towns and suburbs – green cities

Treepedia (Exploring the Green Canopy in cities around the world)

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