(Book). Culled from Bill Bachmans popular "Strictly Technique" articles in Modern Drummer magazine; this book will help players develop hands that are loose; stress free; and ready to play anything that comes to mind. The book is for everyone who plays with sticks; regardless of whether youre focusing primarily on drumset; orchestral percussion; or the rudimental style of drumming. Divided into three main sections Technique; Top Twelve Rudiments; and Chops Builders the book is designed to get you playing essential techniques correctly and as quickly as possible. Also includes a bonus section two-hand coordination and independence.
#695019 in eBooks 2005-03-01 2005-03-01File Name: B00GQZPUKS
Review
3 of 3 people found the following review helpful. Capturing "A Stranger From Another World"By John S. MajorHoward Finster was an itinerant Baptist preacher and jack-of-all-trades handyman in a backwater town of northern Georgia when he suddenly received a vision (embodied in a smudge of paint on his finger) that commanded him to create sacred art. Over time; teaching himself the techniques of painting and sculpture; he produced a voluminous body of work; including the Paradise Garden; a sculptural environment made of concrete and found objects; and thousands of paintings and prints (all carefully numbered and dated) featuring written messages and a private vocabulary of images that included angels; Coke bottles; Elvis; and space ships. Discovered by dealers in ldquo;outsider art;rdquo; he became something of a celebrity during his most productive years in the 1980s and early 90s. During that time Norman Girardot; a professor of religion studies at Lehigh University; made frequent trips to visit Finster; and came to know him well. In this remarkable book; Girardot reflects on his long association with Finster and on the meaning of his work. Girardot is an excellent writer; and his rich; hypnotic; and almost incantatory prose is the perfect vehicle to get to the essence of Howard Finster in the context of an extended meditation on the intersection of art and religion. This is a deeply thoughtful book; and a fascinating read.0 of 1 people found the following review helpful. A historian of religions on Howard Finsters religion and artBy Theodore Walker Jr.NORMAN GIRARDOT; Envisioning Howard Finster: The Religion and Art of a Stranger from Another World. Oakland: University of California Press; 2015: 262 pages; and 15 color plates of paintings and other artwork by Howard Finster; plus one color plate of "Blue Boy Collage in the Spirit of Howard Finster" by Norman Girardot.[Reviewed by Theodore Walker Jr. (12 November 2015); Perkins School of Theology; Southern Methodist University; Dallas; TX 75275]Girardotrsquo;s book is an important scholarly contribution to a renewed appreciation of Finsterrsquo;s work. It also contributes to a renewed appreciation of comparative methods and postmodern trends favoring interdisciplinary research and reenchanted science. Moreover; the first-person story of Girardotrsquo;s adventures with Howard Finster (including the story of Girardotrsquo;s own Finster-inspired artistic creations) is itself an inspiring work of art and religion.Comparative MethodsFrom among the many websites; videos; news reports; articles; and books about the nationally celebrated self-taught contemporary folk artist (outsider artist) and preacher-prophet Howard Finster (born 1915 or 1916; died 2001); Girardots book is distinguished by; among other distinctions; a comparative approach.Among university scholars studying religions; comparative methods (such as advanced by Mircea Eliade; Charles H. Long; and other historians of religions) have been largely replaced by specialized study of a single religious tradition. This is because modern research-oriented universities demand specialization. Accordingly; Professor Norman Girardot is renowned for contributing to the specialized study of religion in China; especially early Daoism. For instance; see Myth and Meaning in Early Taoism: The Theme of Chaos (Berkeley: University of California Press; c1983; revised edition by Three Pines Press; c2008) by Norman Girardot.Nevertheless; against the prevailing trend away from comparative methods; and returning to his early training in comparative history of religions;Girardot comparesmyth and meaning in Finsterrsquo;s northwest Georgia-Baptist religion and art tomyth and meaning in early Chinese-Daoist religion and art.Girardot includes comparisons to the Tibetan Buddhist Dalai Lama Tenzin Gyatso (26-27); and ldquo;the ancient Chinese stranger from another world; the Daoist sage Zhuangzirdquo; (212-14).The positive value of comparative methods is indicated by this new and insightful appreciation of Finsterrsquo;s religion and art.Finsterrsquo;s Religion and ArtGirardot finds that for Finster; preaching was a performing art; and painting was ldquo;simply a more image-based; colorful; and effective form of preachingrdquo; (10).As a preacher; Finster lived in ldquo;a land of snake handlers; glossolalia [speaking in tongues]; strychnine drinking; and other spectacularly unusual Pentecostal and holiness practices; but Finster trumped traditional evangelical strangeness by boldly proclaiming his career as an extraterrestrial visitor; a prophet; and the Second Noah; who had a divine missionrdquo; (14).Finster described himself as a ldquo;Man of Visionsrdquo; and as ldquo;a Stranger from Another Worldrdquo; on a divinely inspired mission to get ldquo;Godrsquo;s words and images out to the worldrdquo; (14); and through preaching and painting; Finster emphasized ldquo;need to discover the inner artist in all men and women; or what he also called the lsquo;hidden man of the heartrsquo;rdquo; (19).In a section on ldquo;The Hidden Man of the Heart;rdquo; Girardot says:ldquo;For Finster this expression referred to each personrsquo;s hidden destiny and promise. To know the hidden man (or woman) was to discover onersquo;s true self or story.rdquo; (207)Girardot quotes Finster as saying; ldquo;if the people on this planet Earth would bring out the hidden man of the heart; therersquo;s no tellinrsquo; whatrsquo;s in some of lsquo;emrdquo; (208). Envisioning our lives within a cosmic drama inspired by the Creator inspires creativity and art.Shamanistic VisionaryOf course Finster was not a shaman. Comparative history of religions recognizes a type of religious visionary typologically labeled shamanistic. Accordingly; Giraradot says: ldquo;From the standpoint of the comparative history of religions; it is especially illuminating to consider Finsterrsquo;s self-proclaimed master identity as the Man of Visions as shamanistic in naturerdquo; (135).The New Postmodern ReenchantmentGirardotrsquo;s interpretive study of Finster connects religion with art in a reenchanting way that witnesses against the modern disenchanting separation of religion from other disciplines. In a section called ldquo;Prophetic Reenchantment;rdquo; Girardot notes ldquo;how Howard Finster and his visionary lsquo;sacred artrsquo; coincided with a growing general convergence of art; religion; and spirituality that challenged many modernist assumptions about how elite art; along with science; would necessarily and triumphantly replace religionrdquo; (62). Rather than our post-Enlightenment modern world relentlessly becoming even more secular/lsquo;disenchantedrsquo; (as predicted by Max Weber and other modern academics) in the 21st century; Girardot finds that ldquo;Reenchantment is in the air these days hellip;rdquo; (62); and that we are now witnessing the beginning of ldquo;the new postmodern; or more accurately hellip; the post-postmodern hellip;rdquo; (62-63).Girardotrsquo;s Finster-inspired new postmodern reenchantment is consistent with the Whitehead-inspired ldquo;constructive postmodernismrdquo; advanced in Whiteheadrsquo;s Radically Different Postmodern Philosophy: An Argument for Its Contemporary Relevance (2007) by David Ray Griffin and in The Reenchantment of Science: Postmodern Proposals (1998) edited by Griffin. Constructive postmodern science inspired by Alfred North Whiteheadrsquo;s Science and the Modern World (1925) and Process and Reality: An Essay in Cosmology (1927-28) is now encouraging the convergence of various scientific disciplines via interdisciplinary researches converging with philosophy of nature; natural theology; metaphysics (metaphysics of nature and metaphysics of morals); and art; including graphic art and poetry.Girardotrsquo;s book is an important scholarly contribution to a renewed appreciation of Finsterrsquo;s work. It also contributes to a renewed appreciation of comparative methods and postmodern trends favoring interdisciplinary research and reenchanted science. Moreover; the first-person story of Girardotrsquo;s adventures with Howard Finster (including the story of Girardotrsquo;s own Finster-inspired artistic creations) is itself an inspiring work of art and religion. [][][][]4 of 4 people found the following review helpful. A Creative; Mind-Altering WorkBy Donald P. St. JohnWhen in 1981 I joined the faculty at Moravian College in Bethlehem; PAmdash;across the river from Lehigh U.; Norman and I were about the only full-time History of Religions people in the six colleges and universities that make up the Lehigh Valley Association of Independent Colleges. I was thrilled to meet Norman; already known for his work in early Daoism and his training under the great Mircea Eliade. Little did I know that this whole other side would explode with its creative genius and crazy wisdom drawn from ldquo;outsider artrdquo; and finally focusing on Howard Finster; a ldquo;self proclaimed Stranger from Another World.rdquo; But Norman is blessed with his own wise strangeness; something like the characters in the work of my favorite Daoist writer; Zhuangzi (Chuang Tzu). I shared Normanrsquo;s appreciation for shamans; mystics; visionaries; artists; storytellers and super-weird people but he was infinitely more versed in the scope and depth of these individuals (and others). One cannot imagine that anyone not himself or herself full of visions and ldquo;out-of-this-worldrdquo; insights could have written this book. That is Normanmdash;or a part of him. This book is not an academic tome meant to analyze some ldquo;interestingrdquo; person but an act of tremendous imagination and artistic expression in itself. Norm calls Howard Finster ldquo;an extra-terrestial evangelical preacher-prophet-artist from northwest Georgiardquo; but in reading even parts of this work one is led brilliantly and poetically by Girardot into so many incredibly rich and varied sides to this artist that we conclude he escapes any categories; no matter how suggestive. And Norman shows how he is connected to so many other figures in religion and art that one would not at first blush imagine possible. But that is due in part to Girardotrsquo;s own holistic vision and his creative juggling of so many different ldquo;odd-ballsrdquo; from varied cultures and times who turn out to be windows on the many levels of the cosmic-earth-human process (to allude to the vision of my mentor; Thomas Berry). Do yourself a favor and read this book. Take your time. Savor its bits and pieces (for it is the varied strewn jigsaw pieces of the lost Whole that through imaginative; mystical tasting; seeing; hearing we recapture something of our identity as humans and the paradise world once lost but always inviting us to reenter through the arts; myths; rituals; visionshellip;) Thank you Norman through your own creative pen and Finsterrsquo;s brush for reviving wonder and faith in deeper powers within us and the world.
