History: Fiction or Science? (Chronology, No. 1)

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

Average customer rating:

What a pity this book's out of print!

Music and Musicians in Ancient Egypt
Lise Manniche
Manufacturer: Dover Pubns
ProductGroup: Book
Binding: Paperback

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ASIN: 0486271714

Customer Reviews:

What a pity this book's out of print!.......2000-02-08

This book (published by the British Museum) is the most comprehensive treatment of Egyptian music and musicians I've ever seen in one place (at least for the general reader). It uses no footnotes, but it does give a bibilography of the massive academic tomes on which it draws. Special mention is given to the use of chironomy (gestures of the hand, arm and fingers) to represent and to conduct music, to the role of music in every aspect of Egyptian life, and to the connection between the erotic and the spiritual in Egyptian thought. My only disappointment is that she ignores the musical scale (again, based on chironomy) reconstructed by one of her sources, the late Hans Hickmann.

Customer Reviews:

A good book, but minstrels arguement is simply unfounded.......2004-10-09

Rex's book is clearly not a scholarly text backed by research, but a good summary without much probing of some of the standard information about the banjo's history with three in-depth portraits of African American banjoists Horace Weston, Gus Cannon, and Elmer Snowden.

It is a well written book for its audience which is not at all scholars, but advanced children! This is also pretty clear from the format of the book itself and its explanations, a good book for children. but not at all scholarly. It reminds me of some of the books that Langston Hughes wrote for children which, although simplified, carry much wisdom and explanation that more advanced texts like. This fits in with Rex's role as a person whose main contribution to history is as a story teller, not a scholar of the banjo.

Rex repeats without any evidence a view that is repeated over and over in books about African Americans and the banjo, a view that is never really supported by any evidence or any reference: The banjo went out of style among African Americans due negative feelings generated by the minstrels.

There is simply no evidence for this!

Black people tended to stop playing the banjo for the same musical reasons that most white banjoists tended to stop playing the banjo in the general replacement of banjo playing by the guitar that took place in the first four decades of the 20th Century.

The developments that lead to a revival of banjo playing among whites did not not find any resonance in the Black community for cultural reasons: Bluegrass, and the "Dixieland" and "traditional"Jazz revivals of the late 40s and the early 1950s, followed by the revivals of "folks music," Bluegrass, and "old time music" since the mid 1950s.

By the close of the 19th century, the five string banjo was the most popular instrument in America, indeed, in the English speaking world, being played by everyone from the British Royal family to back country African Americans and whites. The center of banjo production and playing was not in the South, or the Appalachian mountains at the time as often surmised by the ignorant, but in Boston and New York.

The advent of ragtime, the infusion of Latin music in the great Tango craze of the 1910s, and the beginnings of jazz, led musicians of all types to abandon the five string banjo during the second decade of the 20th Century. The five string was largely replaced by banjos without the fifth drone string which conflicted with the types of harmonies and rhythmic accompaniment required by the new music. The three most popular instruments in what we now called "Jazz banjo" were and are the plectrum banjo (tuned like a five string banjo but without the fifth string), the tenor--first called "tango" banjo--(tuned chiefly like a mandola, but sometimes like a mandolin or like the first four strings of a guitar) banjo, and the guitar banjo (a six stringed instrument tuned like a guitar). They became instruments of choice for rhythm players and lead players who might have onced played five-string banjos in Black, white, and other dance and jazz orchestras.

Another part of this process was that starting in the late 1890s the banjo tended to be replaced by the first availability of relatively inexpensive factory made guitars. At the same time larger guitars that could be heard more than the small parlor guitars popular in the 19th Century became available and started to be used in bands.

During the 1920s and early 1930s thousands of African Americans played four and six string banjos in almost every known dance band or Jazz orchestra and as indiviuals or in groups. This was in addition to continued, though steadily decreasing five string banjo playing particularly in areas like Georgia, North Carolina, and Virginia that parelleled a decrease of five string playing among whites as well. Bands like Louis Armstrong's, Duke Ellington's, Bennie Moten's, hardly presented the image of degrading minstrels. Nor did significant Jazz organizations of the time led by by banjoists like Zack Whyte and Nobble Sissle.

In the mid 1930s with the advent of swing, greater amplification, the banjos in such orchestra and groups largely were replaced by guitars in Black as well as white Jazz orchestras. Most four and six string banjoists switched to guitar. In fact most of the older generation of swing band guitarists like Fred Guy with Ellington and Freddie Green with Count Basie began as banjoists, not guitarists (Green never played banjo with Basie).

This happened for musical reasons, not because of any minstrels. Guitars seemed more suited to a more nuanced swing rhythm and had a greater harmonic range. Moreover, the advent of the large hollow bodied Jazz guitars, better amplification for recordings and stage shows, and finally electric guitars made the guitar superior to the banjos which were louded than the earlier parlor guitars and particularly suited for the early pre-electronic recording. As one of the banjoists turned guitar players of the generation told me 30 years ago, "Banjo and Tuba music got replaced by bass and guitar music in Jazz."

Danny Barker, the great four and six string banjoist from New Orleans who switched to guitar in the 1930s when he was playing with Cab Calloway explained that when he decided to return to banjo playing in an New Orleans revival group right after World War II, Harlem pawn shops were filled with "thousands" of banjos and he had no problem finding a good instrument at a great price. Indeed into the early 1960s, not just in Harlem, but all over America, fine four and five string banjos now worth thousands could be found for easy money or nothing in attics, in garage sales, or even in junk yards! The banjo companies many of which folded in the early 1930s, and most of which had stopped or greatly curtailed making 5 string instrulemnts by the 1920s, produced few banjos of any kind by the 1940s.

The banjo itself declined from total popularity at the turn of the century to relative obscurity by the early 1950s, not because of the minstrels, but for musical reasons common to Black and white musicians.

To be sure among African Americans traditional five string playing continued among pockets of musicians in rural areas in the Appalachians and especially in the Piedmont regions of Virginia, North Carolina, and Georgia into the 1980s.

The desertion of the banjo among African Americans had nothing to do with minstrels, who had actually more or less disappeared from the scene as a major form of entertainment by the late 1920s. It had to do with musical migration and development that was by and large shared by white musicians from the five string to the four and six string banjo to the guitar.

It is true that vestiges of banjo playing remained in Southern white music. Even there,before Earl Scrugg's revived the five string banjo when he gained fame as part of Bill Monroe's Bluegrass band, the banjo was playing a smaller and smaller role in white "hillbilly" music. Generally, the banjoist tended to be a comic figure often playing the role of an old fashioned rube, a vestige of "old times" until Earl came along. When Earl first appeared on the Grand Ole Opry, Uncle Dave Macom, a great old master who had begun performing in the 19th Century, told Bill Monroe Scruggs would never make it as a banjo player because "he ain't a bit funny."

Even so banjo playing in the entire country tended to continue to be indentified with jazz banjo playing in Dixieland groups until the folk revival of the late 1950s and 1960s which also tended to popularize bluegrass to wider audiences.

African Americans did not widely participate in the Dixieland revival of the late 1940s and 1950s (although it did keep a number of Black four and six string banjoists particularly in Chicago and New Orleans working), the folk revival of the 1950s and 1960s and their revival of 1940s and 1950s Bluegrass and resurrection of older white and black country musics involving the banjo.

This has more to do with the fact that African American culture tends to be more progressive than white popular culture. Black people tend not to want to romantically glorify "the old days," particularly the days of Jim Crow Segregation. Black culture keeps trying to develop new expressions to escape the dominant cultures tendency to try to contain and emasculate black contributions.

To be sure, many African Americans see the banjo as an old fashioned or out moded or "country" symbol, just as many Southern whites did in the 1930s, 1940s, and 1950s until the dominant urban sophisticated culture embraced Bluegrass and vice versa.

However, there is simply no proof or even reference to minstrelry in any of the real history of Black banjoists and the banjo, just musical ones, shared by non Black banjoists as well.
On the other hand, a new generation of African American banjoists like my friend Myra Hill and I are returning to the black and white traditions of the banjo.

The book should open many eyes to banjo players.......2003-12-12

As an African American learning how to play the 5 string banjo (3-finger Scruggs style), it is interesting to know that there are other black banjo players or enthusiasts out there. One black man watched me play the banjo on the street and said that he never saw a "sister" playing a banjo before.

Black people today don't realize their contributions to American society and culture with the banjo.

This book is a must for all banjo players black or white. Keep up the good work.

Book Description

The Torture Garden follows up its first, club-based book with the sequel Body Probe, an anthology of interviews, features and images exploring the boundaries of the human body at the edge of the new millennium.

Contents include: David Cronenberg, Hermann Nitsch, Chapman Brothers, Orlan, Stelarc, Ron Athey, Della Grace, Nick Knight, Alex Binnie, plus alien abduction, sex in space, medical fetishism, robot art, mutation in fashion, self-made freaks, the cybernetic body and S/M art.

Body Probe confirms the Torture Garden's position at the cutting edge of the fetish, body art, and cyber technology scene. It contains over 100 black and white photographs, and over 50 full-colour plates.

Customer Reviews:

outer limits.......2004-04-27

a uniquely mind-opening work that deftly explores the "cutting edge" of severe anatomical explorations.

A forbidden work that surely upsets conservatives everywhere.

Blurring the lines between body, mind, and machine.......2001-04-23

This book contains interviews, essays, and art from some of the most cutting edge body artists, authors, and fringe culture critics from around the world. Stelarc, Franko B, Ron Athey, and Orlan all give their take on why they do what they do. Sex, cyborgs, freaks, and the eroticism of destruction are all examined. This is a book for those who think without boundaries. Only a few selections which drag or seem out of place keep this from being a 5 star work. For more content like this, also refer to 'Suture : The Arts Journal', edited by Jack Sargeant (also a contributor to this work).

not for the average customer.......2000-12-27

"Body Probe" goes beyond grotesque. This isn't about mere critiques of Stelarc's, Orlan's or Marina Abramovic's work. This isn't a book for the kind of people who'd wonder whether this is art or not, this isn't a book for the average reader. You have to seriously consider the human body as the most complex and beautiful art subject to enjoy this. You have to believe that the mutant flesh is about to become the next trend. After reading "Body Probe", you'll be sure the cyber culture is here for good and it has the most intimate ralationship with the flesh, an aesthetic revolution that has no turning back.

A Radical Exploration of the Body.......2000-06-02

Body Probe is an amazing collection of interviews and essays of radical performance art, s & m culture, cyborgs, and the films of David Cronenberg, among many other interesting things. The color and b/w pictures are well arranged. Stand-out features of the book include an interview with Mark van Saper, a leading fetish clothing designer, and an intriguing essay about sex in space, which includes some David Bowie lyrics. For those who dare to venture to the boundaries of free expression and the use of the body as an art form, then this book is highly recommended.

Book Description

Radio in the Global Age offers a fresh, up-to-date, and wide-ranging introduction to the role of radio in contemporary society. It places radio, for the first time, in a global context, and pays special attention to the impact of the Internet, digitalization and globalization on the political-economy of radio. It also provides a new emphasis on the links between music and radio, the impact of formatting, and the broader cultural roles the medium plays in constructing identities and nurturing musical tastes. Individual chapters explore the changing structures of the radio industry, the way programmes are produced, the act of listening and the construction of audiences, the different meanings attached to programmes, and the cultural impact of radio across the globe. David Hendy portrays a medium of extraordinary contradictions: a cheap and accessible means of communication, but also one increasingly dominated by rigid formats and multinational companies; a highly 'intimate' medium, but one capable of building large communities of listeners scattered across huge spaces; a force for nourishing regional identity, but also a pervasive broadcaster of globalized music products; a 'stimulus to the imagination', but a purveyor of the banal and of the routine. Drawing on recent research from as far afield as Africa, Australasia and Latin America, as well as from the UK and US, the book aims to explore and to explain these paradoxes - and, in the process, to offer an imaginative reworking of Marshall McLuhan's famous dictum that radio is one of the world's 'hot' media. Radio in the Global Age is an invaluable text for undergraduates and researchers in media studies, communication studies, journalism, cultural studies, and musicology. It will also be of interest to practitioners and policy-makers in the radio industry.

Global News: Perspective on the Information Age

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Global News: Perspective on the Information Age
Tony Silvia
Manufacturer: Blackwell Publishing Professional
ProductGroup: Book
Binding: Paperback

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ASIN: 0813802563

Radio in the Global Age. (Review of Books). (book review): An article from: Journal of Australian Studies

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Radio in the Global Age. (Review of Books). (book review): An article from: Journal of Australian Studies
Mick Counihan
Manufacturer: University of Queensland Press
ProductGroup: Book
Binding: Digital
ASIN: B0008ILSIM
Release Date: 2005-07-28

Book Description

This digital document is an article from Journal of Australian Studies, published by University of Queensland Press on September 1, 2001. The length of the article is 938 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Radio in the Global Age. (Review of Books). (book review)
Author: Mick Counihan
Publication: Journal of Australian Studies (Refereed)
Date: September 1, 2001
Publisher: University of Queensland Press
Page: 142(2)

Article Type: Book Review

Distributed by Thomson Gale

Book Description

This book is designed to help administrators of small-to-medium-sized business automate routine network and user tasks. Unlike the competition, this book offers coverage of Windows Shell Scripting, Windows Script Host, and Windows 2000 under one cover.

Customer Reviews:

This book is terrible.........2006-11-14

This book is probably the most poorly written book ever, not only is it cumbersome to read, its got more typos than a 2nd graders homework. For example on page 111 the author shows some code samples with the named element %string_name....

but refers to that named element as %variable_name... in the the text. Utterly confusing to a casual reader. Honestly 1 star is too much for this book. Was the editor asleep? or was there even an editor?

A lesson to you aspiring writers, Proof Read your work, because every one sees the typos.

This book is a classic.......2006-02-03

This book provides a streamlined approached to learning how to work with WSH and VBScript and JScript. Is also covers Windows shell programming. It is written in a way that anyone can understand. Despite a few typos and a little age, this book is still a classic and provides a perfect text for jumping into the world of Windows scripting.

Don't buy this book.......2003-09-27

I bought this book because I wanted to learn VBS to do network administration tasks. Most of the VBS books out there cover topics more relating to web development, so this one sounded more geared toward what I was looking for.

I've found that this book will get someone by, but there has got to be something better out there. The author does a poor job at explaining a lot of the sample code, if at all. Many of the syntaxes that a new VBS programmer will need, are not explained, or explained poorly, leaving the reader with only a slightly better understanding then they started with. There are also references to a CD which isn't included.

The book also includes Javascript as well as VBScript in every example. It forces you to jump around because no one is going to try and learn both languages at the same time. There are also a number of inconsistencies in the examples which I can only assume to be typo's, because they are not explained anywhere, and make no sense. In conclusion, find something better.

A good book for the first time script developer.......2002-01-04

I found the book easy to understand. It has tons of examples and was written in a very friendly style. Coverage was split equally between Windows shell scripting and the Windows Script Host. The book might be a little less than heavy weight programmers are looking for but for the rest of us, its right on target. Thanks.......

Windows *shell* scripting? ROTFL.......2001-12-29

I wanted to give this book more than 3 stars, if only to show that the topic wasn't causing me to be prejudiced against it.

Really, I wanted to be able to sit down with book for half an hour and at least have an idea of what Windows shell scripting was about--but it wasn't easy to really wrap my mind around it even after flipping through the chapters, reading the first chapters, looking at the figures and tables, trying to get an idea of an organic framework for scripting.

Instead, I came away with two feelings:

1. Microsoft sure knows how to turn something relatively simple into something that's quite complicated. Shell scripting is pretty straightforward in *nix, and there aren't a ton of switches, buttons, and checkboxes involved with making them run. As far as I can tell, there is a fair amount of that to do with Windows scripts. So I really wouldn't want to have to use Windows shell scripting at all.

2. I wanted the author here to at least give me a sense of what can be done with scripts under Windows. He mentioned a CD with example code on it in the first pages, but there was no other indication of such a CD. So, that's bad editing. But, there also was no overall framework for example scripts throughout the book. I would have preferred to see more examples that build on each other more coherently. And I would have liked to see many of the lists of commands, functions, parameters, and what-have-you segregated from the rest of the text. They're distracting.

Overall, if you must have a book on WSH and Windows shell scripting, I suppose this one might be OK, but the Tim Hill book (which was published in 1998) seems to be, by far, the more popular book. It also seems to be the only other book on Windows scripting, but it also has an average rating of nearly 5 stars from over 30 reviewers, so you might want to check that one out.

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Microsoft Windows shell scripting and WSH administrator's guide
Jerry Lee Ford
Manufacturer: Premier Press ;
ProductGroup: Book
Binding: Unknown Binding

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ASIN: B0006RSLZ8

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