'The best source on the web for what's real in arts and entertainment' - Volume 2 -2017 MUSIC BOOKS FINE ARTS FILM THE WORLD What happened to the list? As the CCJ transitions to a model better geared to leverage social networks, we are moving away from our past use of email notification services. If you would like to be added to our internal email distribution, please send your request to. You can also follow us on and, which we will use to keep you notified of new features and news articles. ABOUT RAR: For those of you new to this site, 'RAR' is Rick Alan Rice, the publisher of the RARWRITER Publishing Group websites., which features original music compositions and other., which features excerpts from novels and other.

• Crackle The Best Of Bauhaus Download Rar Windows 7

Use the RARADIO link to go to our radio page, where you will hear songs you are not likely to hear elsewhere. MUSIC LINKS 'Music Hot Spots' INTERNATIONAL LINKS ATWOOD - 'A Toiler's Weird Odyssey of Deliverance' - AVAILABLE NOW FOR KINDLE (INCLUDING KINDLE COMPUTER APPS) FROM AMAZON.COM.

CCJ Publisher Rick Alan Rice dissects the building of America in a trilogy of novels collectively called ATWOOD. Book One explores the development of the American West through the lens of public policy, land planning, municipal development, and governance as it played out in one of the new counties of Kansas in the latter half of the 19th Century. The novel focuses on the religious and cultural traditions that imbued the American Midwest with a special character that continues to have a profound effect on American politics to this day.

Book One creates an understanding about America's cultural foundations that is further explored in books two and three that further trace the historical-cultural-spiritual development of one isolated county on the Great Plains that stands as an icon in the development of a certain brand of American character. That's the serious stuff viewed from high altitude. The story itself gets down and dirty with the supernatural, which in ATWOOD - A Toiler's Weird Odyssey of Deliverance is the outfall of misfires in human interactions, from the monumental to the sublime.

The book features the epic poem 'The Toiler' as well as artwork by New Mexico artist Richard Padilla. Elmore Leonard Meets Larry McMurtry Western Crime Novel I am offering another novel through Amazon's Kindle Direct Publishing service. Cooksin is the story of a criminal syndicate that sets its sights on a ranching/farming community in Weld County, Colorado, 1950. The perpetrators of the criminal enterprise steal farm equipment, slaughter cattle, and rob the personal property of individuals whose assets have been inventoried in advance and distributed through a vast system of illegal commerce. It is a ripping good yarn, filled with suspense and intrigue. This was designed intentionally to pay homage to the type of creative works being produced in 1950, when the story is set. Richard Padilla has done his usually brilliant work in capturing the look and feel of a certain type of crime fiction being produced in that era.

The whole thing has the feel of those black & white films you see on Turner Movie Classics, and the writing will remind you a little of Elmore Leonard, whose earliest works were westerns. EXPLORE THE KINDLE BOOK LIBRARY If you have not explored the books available from Amazon.com's Kindle Publishing division you would do yourself a favor to do so.

You will find classic literature there, as well as tons of privately published books of every kind. A lot of it is awful, like a lot of traditionally published books are awful, but some are truly classics. You can get the entire collection of Shakespeare's works for two bucks. You do not need to buy a Kindle to take advantage of this low-cost library.

For your computer, tablet, or phone. Amazon is the largest, but far from the only digital publisher.

You can find similar treasure troves at (the Barnes & Noble site), and others. The Musical Revolution that Gave us the world today 1980'S MODERN ROCK FEATURE By RAR For me, popular music - which had gone through a long, abysmal period called the 1970s - sprang back to life in the 1980s. It rode into the public imagination atop the burgeoning cable TV industry, which by the start of the decade was pushing Music Television (MTv) into households across the developed world and influencing style and social consciousness. In America, it made celebrities of the early Video Jockeys (Veejays), including Martha Quinn, Nina Blackwood, Alan Hunter, and Marc Goodman, who in retrospect seem like the most vanilla people imaginable to be associated with a social revolution, though that is exactly what theirs was. The world was heading into a period of technological and social change that would pry open the doorway to a whole new world - one from which we would never return - and it was happening at a time when we were in desperate need of a new direction. The end of the 1960s arrived like a funeral, featuring the death of The Beatles and all the love-and-peace that they could possibly stand. The Fab Four had become a little surly, along with everybody else.

In America, the Viet Nam War weighed heavily on young minds, and we were already feeling an escalation in the erosion of 'the American Dream'. People were tired, introspective, sick of celebrity artifice, and desperate for music that somehow captured the apprehension and anxiety that they were feeling in their lives.

So we got James Taylor, with his sanitarium tales, and the reassuring wisdoms of Cat Stevens, both of whom are still around today, though their golden periods were brief, swept aside by a rate of change in public interests that was an early indicator of a fracturing in American culture that today has found expression in the myriad of niche programming available through Internet, satellite, and cable television services. The early 1970s gave us mellow rock and revised editions of folk rock, along with the tailings of America's nascent experiment with punk rock. Punk had failed to expand beyond NYC, but it would re-emerge in the U.K.

Late in the decade with extraordinary impact. Bruce Springsteen emerged, melding brash attitude with folkie singer-songwriter sensitivity, and so perpetuated what was then a still-new strain of rock balladeer. Joni Mitchell and Paul Simon, both of whom had emerged in the 1960s, did some really mature and 'important' work in the '70s, though both had changed, becoming more inwardly focused and outwardly dismissive of the changes all around them.

The epicenter of American pop music largely remained on the west coast, and out of Los Angeles we got a hybrid brand of Nashville Country called Country Rock. For a time, acoustic instruments were all the rage, but then there was a backlash against that with the appearance of dance-oriented Disco Music. R&B got very funky and very Black in its visual presentation, which seemed to create a unique no-Whites-aloud playing field for bands like Earth, Wind & Fire and The Commodores. It was quite different from the race-neutral way that R&B had been presented in the previous decade. (Consider the stage image of The Temptations, in business suits, versus that of the previously mentioned R&B acts, which ranged from African attire to futuristic space outfits, all signifying big changes in American culture, and all clothing that only Black folk could get away with.) Then there was a period of Jazz Rock, and we got the further emergence of Glitter Rock, which had roots dating back to the '60s. Moving stealthily in the shadows through the entire period was David Bowie, who had been around in fringe roles for more than a decade but would emcee the opening of the new age - the Modern Rock era.

That happened in two parts - that which saw the light-of-day via MTv, and the alternative sounds that found traction on the great 'Modern Rock' radio stations of the day. May have been cranking out Michael Jackson, but in San Francisco 'The Quake' and later 'Live 105' (the first morphed into the latter, existing today as a mockery of its former self) were spinning liberating tunes announcing a new attitude. Those stations, with music directors like Steve Masters, brought music in from the UK and other parts of Europe, and it is really that music that changed our culture into whatever it is today. It put Gay feelings and issues front and center, which over time softened cultural resistance to the acceptance of alternative lifestyles. While MTv was being taken over by Hair bands and the Sammy Hagars of the rock world, the alternative-rock world was shaping an entirely other universe - the one that would prevail.

And straddling that divide between old and new was David Bowie, whose alt roots went way back to the '60s, when he was producing Iggy Pop's first two solo LPs and writing 'Lust for Life' on Ukelele. Bowie was an avatar of a new age, and he was perfect at it. Best of Class New Order: Rising in 1980 from the ashes of Joy Division, was comprised of clever songwriters who crafted lovely melodies and thoughtful, haunted lyrics, while also immersing themselves in utterly forgettable dance music. What has survived the past three-plus decades is a group of pop tunes ('Regret', 'Blue Monday', 'Bizarre Love Triangle', 'Perfect Kiss') that, along side the work of a few other stalwart acts, define '80s music.

The Smiths: Like New Order, The Smiths came from Manchester, England, and they did for guitar-rock what New Order did for synth-rock, which is to say that they gave it a signature character. The bulk of The Smith's musical signature belongs to guitarist, whose deft layering of melodic guitar parts has no real equal to this day. And then there was Stephen Morrissey -, as the world knows him today - who was perhaps the most gifted lyrical ironist to come along since Oscar Wilde. The Cure: is The Cure, for most people, though he began his career with the band, in West Sussex, England in 1976, as just one of the boys. Smith is one of the most engaging songwriters and personalities of his era. He is the image of Goth, for many people, but is far more enigmatic than what one might imagine.

Smith wasn't the main songwriter on the band's early work, nor was he the vocalist, which now seems unimaginable because The Cure cranked out a string of hits ('Let's Go to Bed', 'Just Like Heaven', 'Lovesong', 'Friday I'm in Love') that one cannot imagine being written or sung by anybody else. Smith is a sneaky-good guitarist and arranger, and a one-off personality. The members of the band, other than Smith, have changed over the years, but The Cure have remained great. In they have one of the finest drummers on the planet. The Pretenders: Where The Smiths had Johnny Marr and The Cure Robert Smith, once had the late James Honeyman-Scott, who died of a cocaine-induced heart attack in 1982 at 25 years of age. Honeyman-Scott, like Marr and Smith, was an extraordinary visionary in the development of sophisticated guitar parts.

In Chrissie Hynde, he had a songwriting partner and an alpha front-girl, a living incarnation of rock coolness, and one capable of continuing Honeyman-Scott's instrumental vision even after his death. He informs every Pretenders song to this day, like a brilliant, beautiful ghost that hovers protectively over the band's legacy. And Chrissie Hynde is a premier songwriter. Psychedelic Furs: For most people, emerged from the soundtracks of those John Hughes teen-comedies ( Pretty in Pink) of the '80s.

Established in punk London in 1977, they had been around nearly ten years by the time Hughes was inspired to write a movie based on the name of one of their songs. The brothers Richard and Tim Butler, working collaboratively with band members, have developed a songbook that is consistently powerful, has few equals, and in Richard Butler they have one of the greatest character voices in the history of popular music - the Jeremy Irons of rock. Second Tier Notables The Clash: Many '80s rock enthusiasts are devoted to, the post-punk rockers who came out of London in 1976. Rolling Stone magazine named their 1979 London Calling album the 'Best Album of the 1980s' (in keeping with a long history of absurd best-of lists). Joe Strummer and Mick Jones were well-connected in the London punk music scene, and they happened to come together as The Clash during a down period for popular music. They were the Nirvana of their period, in that sense, a B-level act that arrived in a C-level market.

Strummer was a primitive, more artifice than authenticity. Jones was far more musical and lyrically inventive, and it is his songs that have been covered by others. They are grossly over-rated, which means they are huge! Depeche Mode: For all the people who adored The Clash, there are at least as many people who hated Depeche Mode (which could be translated in French as 'Fashion Dispatch'). They were a synth band populated with guys who in the latter '70s had been emulating The Cure and David Bowie in local outfits, before coming together in 1980 around new music technology. The sound of synthesizers fascinated young creatives, but it left much of the public suspicious of the legitimacy of music coming from chips rather than guitars.

It probably didn't help their overall level of acceptance that their first UK hit was the dancy 'Just Can't Get Enough', which is an awful song, but the kind that often works with the club set. The band lost founding member Vince Clarke, soon after they achieved success. Reportedly sick of promotional activities, he went off to form the band Yazoo, with Alison Moyet, and later Erasure with Andy Bell. With Clarke gone, remaining members Andy Fletcher, Martin Gore, and Dave Gahan went on to progressively darker and more introspective sounds, culminating with their 1989 Violator album, which yielded the alt-rock classics 'Personal Jesus' and 'Enjoy the Silence'. INXS: Out of Australia, INXS was another band that formed in 1977 but hit big in 1980, just as the 'Modern Rock' era was dawning. The band's front man, Michael Hutchence, was the Jim Morrison of his day, with sultry good looks, an athletic bearing, and an attitude of infectious self-confidence. In Hutchence, the Ferriss Brothers (composer and keyboardist Andrew Farriss, drummer Jon Farriss, guitarist Tim Farriss) found the perfect complement to their sophisticated rock, which ranged from big sprawling power ballads, to funky edge rock, to dance music.

The band developed a great songbook, and they are probably way under-appreciated as arrangers, because all of their song's are beautifully orchestrated and choreographed. Billy Idol: Who would have imagined that the clownish Billy Idol, who had haunted London's punk scene in the Sex Pistols period, would turn out to be one of the great rock survivors. Billy hasn't changed an iota from his snarling, posing, spiky-haired youthful self, when he seemed contrived specifically for MTv.

His camera-ready attitude was a beautiful thing to see, almost to the extent that Idol's songbook sort of snuck by critical review, which it actually deserved. 'Eyes Without a Face' and 'Flesh for Fantasy' are tremendously nuanced and atmospheric, 'Forgot to Be a Lover' stands with any Elvis-inspired rocker ever done, and 'White Wedding' was the song we played when my wife and I were married, so f-you! (I stuck that in there just for a little Billy-tude, but baled on the vulgar language.) Billy Idol has been doing months-long residencies in Las Vegas over the past year, and he sometimes shows up with his own special hour-long show on Sirius XM, where he plays stuff he personally likes.

It's actually not that interesting. Siouxsie and the Banshees: Wow, bad press everywhere. I have never heard any media person ever have a nice thing to say about Susan Janet Ballion, who the world knows as Siouxsie Sioux. Journalists have openly despised her abusive nature in interviews, often suggesting that her nasty attitude is exacerbated by alcohol abuse.

It's a shame, because she has been one of the brightest lights in all of modern rock history. She was also around in the Sex Pistols '70s, but her punk attitude is more than equaled by her art-school approach to interpreting songs. She has a rangy voice that rings with authority, and she arranges it in psychedelic soundscapes that seem to attract other worldly energies, making each of her songs as much a psychic as a musical experience. I have no idea what songs like 'Peek-A-Boo' or 'Kiss Them for Me' are about, but I love listening to them. Thomas Dolby: Thomas Dolby is now a Professor of the Arts at Johns Hopkins University, though he still finds time to do Chautauqua-like appearances, where he plays his hits - often accompanied only by his electronics - and talks about music, creativity, and technology. He has Silicon Valley connections, and he has been the music director for the TED series. It all just seems so right for a guy who arrived on MTv as a sort of mad scientist singing 'Blinded Me with Science' and 'Hyperactive'.

He was, in fact, a harbinger of a future age, when other science-minded guys like him (Trent Reznor and will.i.am come to mind) would somehow connect the worlds of popular music and computer science. The Pet Shop Boys: This is the best-selling duo in U.K. Neil Tennant (main vocals, keyboards, occasional guitar) and Chris Lowe (keyboards, occasional vocals) launched their project in 1981 and turned a bunch of cheeky up-tempo pop attitude into a dance fantastic.

Crackle The Best Of Bauhaus Download Rar Windows 7

The Pet Shop Boys covered the cornball ballad 'Always On My Mind' and dueted with the venerable Dusty Springfield on 'What Have I Done to Deserve This?' They captured a strange sense of unease with their '80s world, and a strong satirical bent, with atmospheric pump-ups like 'West End Girls', 'It's a Sin', 'Go West', and 'Opportunities (Let's Make Lots of Money)'. The Pet Shop Boys always sounded smart, even when they were being silly.

English Beat: Known as The Beat in the UK, and later as General Public, the band was fronted by Dave Wakeling and the ska rapping Ranking Roger, making the English Beat one of only a few big Black/White acts of the '80s. Wakeling wrote the three-chord classic 'Save It for Later', which is infectious enough to sound fresh 30 years after the fact. XTC: After forming in 1972 and surviving for 10 years as a band trying to find itself, XTC finally got traction with a couple Colin Moulding tunes - 'Making Plans for Nigel' and 'Generals and Majors'. Those tunes put XTC on the map in the U.K., in the early '80s, and eventually led their label, Virgin Records, to pair them with producer/musician Todd Rundgren, which became a legendarily acrimonious association, albeit a successful one. XTC's more prolific songwriter - Andy Partridge - hated Rundgren and his corporate mission, which was to turn XTC into a hit stateside. Partridge's incendiary 'Dear God' was the focal point, with Rundgren committed to the song even knowing that it might create a firestorm of criticism in the U.S., where orthodox Christian religious views are held sacrosanct.

Partridge kept the track off their Skylarking album, which was remastered and re-released after DJs started playing 'Dear God' like a bootleg track and it became popular. Partridge has excelled at writing fearless political and social diatribes, like 'Peter Pumpkinhead', and unusual and infectious pop, as with 'Senses Working Overtime'.

While band members have gone off to separate projects (always did), the individuals are still around today, and Partridge is still fighting with Todd Rundgren who called him a 'pussy' on Mark Maron's podcast.

Dark Entries (Single A-Side) 02. A God In An Alcove (Original Version) 03. Untitled (Single B-Side) 04. Terror Couple Kill Colonel (Original Beck Version) 05. Telegram Sam (Original Beck Version) 06.

Terror Couple Kill Colonel (Single B-Side) 07. Scopes (Single B-Side) 08. Terror Couple Kill Colonel (Southern Mix #2) 09. Crowds (Single B-Side) 10.

Dive (Out-Take / Alternative Mix) 11. The Spy In The Cab (Out-Take / Alternative Mix) 12. Stigmata Martyr (Out-Take / Alternative Mix) 13. Rosegarden Funeral Of Sores (Single B-Side) 14. Double Dare (Alternative Version / Mix #4) 15. Telegram Sam (Alternative Mix #1) 16.

Kick In The Eye (Original Single Version A-Side) 02. Satori (Single B-Side) 03. In Fear Of Fear (Original Version) 04. In Fear Of Dub (Single B-Side) 05. Muscle In Plastic (Rough Mix Version) 06. Dancing (Rough Mix Version) 07.

Hair Of The Dog (Rough Mix Version) 08. Monkey (Poison Pen) (Rough Mix Version) 09. Ziggy Stardust (Rough Demo Version) 10. Earwax (Full Unedited Version) 11. 1-2-3-4 (Single B-Side) 12. Muscle In Plastic (Rejected Album Mix) 13. Hollow Hills (Rejected Album Mix) 14.

Hair Of The Dog (Rejected Album Mix) 15. Poison Pen (Rejected Album Mix) 16. Kick In The Eye (Single Re-Mix Version A-Side) 17. Dave And Danny's Waspie Dub #2.