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UFOs and Abductions: Challenging the Borders of Knowledge Jacobs, David Michael ( Author ) Sep-20-2000 Hardcover
UFOs and Abductions: Challenging the Borders of Knowledge Jacobs, David Michael ( Author ) Sep-20-2000 Hardcover
by David Michael Jacobs
Edition: Hardcover

1 of 1 people found the following review helpful
5.0 out of 5 stars First Class Collection of Academic Perspectives from Kansas University Press, 4 May 2015
This scholarly collection of 10 essays, each by an author with a different academic speciality and a different take on the abduction phenomenon, is edited by Professor David Jacobs of Temple University, Philadelphia who also writes the introduction and concluding chapter, and pens one of the essays. The book was published by Kansas University Press in 2000, and is available only in its original hardcover.

The essays are as follows:

1. Ufology and Academia: The UFO Phenomenon as a Scholarly Discipline, by Stuart Appelle, Professor of Psychology at the State University of NY - who analyses why the subject is neglected by academia, how this might be rectified, which academic disciplines might be appropriate to study it, and why

2. Limited Access: Six Natural Scientists and the UFO Phenomenon, by Ron Westrum, Professor of Sociology and Interdisciplinary Technology at Eastern Michigan University - who details the works of Donald Menzel, Carl Sagan, James McDonald, J. Allen Hynek, Jacques Vallee and Edward Condon - a mix of free-thinking researchers and (possibly officially-sanctioned and supported) debunkers - and analyses their methodologies, their engagement with the issue and their legacies

3. Science, Law and War: Alternative Frameworks for the UFO Evidence, by Don Donderi, Professor of Psychology at McGill University, Montreal - argues that of all professional disciplines, science is the least appropriate to studying the phenomenon and that military intelligence, due to its methodologies and modus operandi, the most appropriate

4. UFOs, the Military and the Early Cold War Era, by Michael D. Swords, Professor of Natural Science at Western Michigan University - in which the author analyses the military's response to the phenomenon in modern times and how this is governed by national security issues

5. The Extraterrestrial Hypothesis in the Early UFO Age, by Jerome Clark - in which the author examines how unpopular was the ETH in the early years of the modern phenomenon after WW2 and how a possible Soviet origin seemed more plausible at the time

6. UFOs: Lost in the Myths, by Thomas Bullard - the author is a folklore specialist and here condenses his thesis about the gray aliens being the latest manifestation of a recurrent societal myth throughout human history (important to stress he sees the core phenomenon as real, not imaginary)

7. The UFO Abduction Controversy in the USA, by the editor, Professor David Jacobs - paraphrasing the title of his 1975 doctoral thesis "The UFO Controversy in America", the author argues convincingly that the abduction of humans and a hybridization-breeding program is the main reason why UFOs are so ubiquitous in our skies. Despite the seeming improbability of such a claim to those unfamiliar with the data, the author produces plenty of evidence in support of his contention

8. Hypnosis and the Investigation of UFO Abduction Accounts, by Budd Hopkins - in which the author, one of the best investigators in the field and a first-class writer to boot - very effectively demolishes brick-by-brick the unfounded criticisms of regressive hypnosis as a tool to aid memory recovery

9. How the Alien Abduction Phenomenon Challenges the Boundaries of our Reality, by John E. Mack, Professor of Psychiatry at Harvard University Medical School - who argues (as in his final book on the subject "Passport to the Cosmos") that we need to expand our concept of what constitutes reality in order to understand the abduction phenomenon, rather than try to force-fit it into our current paradigms

10. The UFO Experience: a normal Correlate of Human Brain Function, by Michael A. Persinger, Professor of Psychology and Neuro-science at Laurentan University in Ontario - in which the author presents data to demonstrate that several reported characteristics of abductions may be induced in a laboratory by stimulating areas of the brain, including the perception of alien entities (one is reminded of Graham Hancock's theories about the power of hallucinogenic agents like Ayahuasca to achieve the same result)

In the concluding chapter 11 Professor Jacobs writes in summary:

"...virtually all participants agree that the intellectual community has inadequately confronted this phenomenon, not because of the paucity of evidence but because of entrenched political and cultural bias. Rarely has a logical viewpoint towards a legitimate topic of scholarship been greeted with such steadfast opposition. In the 1960s, Allen Hynek liked to characterize the Air Force's stance toward the existence of UFOs as "It can't be, therefore it isn't". Hynek could have easily expanded his characterization to include nearly the entire scholarly community...

"The societal reaction to the phenomenon has been very different than would be indicated by its persistence as a cultural artefact. Rather than society fashioning UFOs and abductions into new directions as the culture evolves over the years, the phenomenon...remains stubbornly what it is. As such, it appears to have an internal integrity devoid of cultural determinants."

The volume contains a very extensive bibliography and notes section, but no photos or illustrations. Writing and editing overall is at least good from all the contributors, and from some truly excellent.

It is to Professor Jacobs' credit that he invited essay contributions form academics with whom he personally has fundamental differences of opinion about the subject: the point is not to push one particular line, but to present educated, thoughtful but differing perspectives in the same volume. Overall the book is not just excellent, but one of the very best ever published on the UFO and abduction subject. If it's not in your library, it should be.

Deluxe Materials 40ml Perfect Plastic Putty Tube # 044
Deluxe Materials 40ml Perfect Plastic Putty Tube # 044
Offered by Model Hobbies
Price: £6.45

4.0 out of 5 stars Near-perfect solution to filling gaps and joins in plastic, 22 April 2015
Verified Purchase(What is this?)
This Perfect Plastic Putty is excellent for filling small gaps and joins. It’s easier to use than Milliput, for instance, which needs to be mixed from two separate tubes.

PPP dries without shrinking and is water-soluble, so easy to clean-up. It’s easy to work with and to sand and buff, and the dried result takes airbrush paint easily.


Model Air Set - Basic Colours (x8)
Model Air Set - Basic Colours (x8)
Offered by SnM Stuff
Price: £17.39

5.0 out of 5 stars All the basic airbrush colours in one box, 21 April 2015
Verified Purchase(What is this?)
Spanish manufacturer Vallejo specialises in paint formulated for airbrushes, and this starter-pack of 8 basic colours is excellent for the novice airbrusher to get going.

The paints may be used straight from the bottle into the airbrush, or thinned 4:1 with Vallejo thinner if several coats need to be built up.

The silver is particularly good as an airbrush colour. Recommended.

Vallejo Model Air 200 ml Thinners
Vallejo Model Air 200 ml Thinners
Price: £8.99

4.0 out of 5 stars Mix it up for a better result, 20 April 2015
Verified Purchase(What is this?)
This Vallejo thinner is to avoid potential blockages when using acrylics in your airbrush. It’s especially useful if you’re using a fine needle, i.e. smaller than 0.25. A ratio of 1ml thinner to 4ml paint is ideal.

If you’re spraying more than one thin coat to build up the colour in order to ensure all the surface detail is retained then deploying the thinner ensures the paint remains free-flowing; it’s much more effective than using just water as a thinner.

The Vallejo bottle is fitted with a small nozzle which enables you to apply the thinner a drop at a time, or squirt in a larger amount if your airbrush has a larger reservoir and you’re preparing to spray a big surface area.

The only gripe (a small one) is that the product is quite expensive for a modest 200ml bottle.

Vallejo Model Air 200 ml Airbrush Cleaner
Vallejo Model Air 200 ml Airbrush Cleaner
Price: £6.99

1 of 1 people found the following review helpful
5.0 out of 5 stars Clean your airbrush & keep it clear of blockages & blowback, 20 April 2015
Verified Purchase(What is this?)
Though much more expensive than IPA, this airbrush cleaning fluid from Vallejo is worth the extra. It removes all traces of even dried-out paint and deep-cleans the airbrush parts (especially the tips) like nothing else.

If you're using acrylics, try diluting the fluid 50/50 with water between colours and then leave the residue wet in the airbrush after flushing it through. This will ensure your next colour will flow freely right from the get-go, with no blocks or blow-backs which can otherwise happen with thicker acrylics (especially with cheap airbrushes where the parts may not be so finely machined).

You don't need much of this cleaning fluid; even a small bottle can last a busy airbrusher for weeks.

A Tribute To Jack Johnson
A Tribute To Jack Johnson
Price: £6.72

1 of 1 people found the following review helpful
4.0 out of 5 stars The definitive jazz album for rock fans, 16 April 2015
Verified Purchase(What is this?)
If you're a rock music fan who has listened with an open mind but never really warmed to jazz, this could be the album which unlocks the door for you. Miles Davis' ground-breaking fusion period book-ended by `In a Silent Way' in 1969 and `Agharta' in 1975 is normally associated with his best-seller `Bitches Brew', but `A Tribute to Jack Johnson' is a hidden gem from this period.

To many this is "not real jazz" but more like a rock album. No written melodic compositions underscore this music; the action is purely on the improvisational interplay of these virtuoso jazz musicians over rock/funk/blues rhythms; fusion at its purest. The ace rhythm section of 19-year old Michael Henderson on electric bass and Billy Cobham on drums lay down a heavy rock-funk groove on `Right Off', the explosive 27-minute opener, over which Miles' trumpet and Steve Grossman's soprano sax soar in complex patterns, ably supported by John McLaughin's raunchy guitar riffs. Miles' playing here is possibly his best-ever, full of inventive improvisational musical phrases delivered one after another with a power and conviction that pins you to the wall. Only the normally excellent Herbie Hancock is not on top form; he dropped by the studio on his way back from the grocery store and was co-opted to play a contribution on a rough-sounding Farfisa electric organ. Unprepared, he thumps out some chords and simple phrases for three minutes to fit in with the improvisation, and departs.

The album contains only two long pieces. The second `Yesternow' begins quieter in tone, builds to a crescendo and then subsides; a fine dynamic complement to the full-on `Right Off.' Here McLaughlin is on top form, his trademark super-fast guitar licks engaging in an energetic dialogue with Miles' inventive phrases on the trumpet. You can hear sections from the `In a Silent Way' recordings spliced in, and they fit with the groove of the piece.

This single-disk CD was spliced together by the excellent editing of Teo Macero from different sessions, and you have to say he did a fine job (Miles concurred with his customary bluntness by telling Teo "I like did it again, motherf*****"). Macero was ahead of his time in viewing recording sessions as a film editor would treat film footage, producing a seamless and highly atmospheric piece of work edited together from several hours of improvisational playing. If you want the entire unedited originals, seek out the 5-disk box set `The Complete Jack Johnson Sessions.'

Price: £9.99

5.0 out of 5 stars Absent Roger Waters, the `Division Bell'-era Floyd delivers an epic live performance from 1994, 16 April 2015
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This review is from: Pulse (Audio CD)
This epic live-on-stage album was recorded on the `Division Bell' tour in the late summer of 1994, by the Waters-light version of Pink Floyd. All the recordings are from UK/European concert dates.

Whilst acknowledging Roger's exceptional lyrical and songwriting skills during his years with Floyd, you have to say that here he's not really missed. Guy Pratt does an excellent job as fill-in bass player as David Gilmour takes centre stage with some outstanding guitar work and lead vocals, supported by Richard Wright's rich expansive soundscapes and Nick Mason's solid and energetic drumming.

The first disk opens with a spine-tingling rendition of `Shine On You Crazy Diamond' followed up by the Barrett-era classic `Astronomy Domine', rarely played by the band onstage since the early 70s. The remaining material is from the seminal `Division Bell' album, and capped-off with `Another Brick in the Wall pt 2', another Gilmour composition.

The second disk is a complete and truly excellent performance of `Dark Side' in its entirety, followed by three encores including Gilmour-classics the WYWH title-song and `Comfortably Numb'.

`Pulse' is arguably even better than `The Delicate Sound of Thunder' as the definitive official-release live-on-stage Pink Floyd album. The rejuvenated `Division Bell' band radiates confidence, experience and professionalism. With none of the interpersonal tension so evident during Roger's last couple of years with Floyd, the band here is more relaxed and the resultant music outstanding. `Pulse' is a corker, and essential for any Pink Floyd collection.

Animals ( Remastered)
Animals ( Remastered)
Offered by Fulfillment Express
Price: £11.63

2 of 2 people found the following review helpful
4.0 out of 5 stars Animals 2011 remaster: Roger Waters' political vitriol takes over, 13 April 2015
This review is from: Animals ( Remastered) (Audio CD)
`Animals' released in 1977 followed on from the seminal recordings DSotM and WYWH, and is where Roger Waters most obviously took over as Pink Floyd's dominant writer/band leader until his acrimonious split from the band in 1985. Pink Floyd's collegiate, co-operative partnership gradually gave way to Waters' political vitriol, which here takes centre-stage: his Orwellian view of Britain bursts with anger and energy, but the result is nevertheless very ambitious with some memorable high-points.

The album is anchored around four long musical pieces themed on different segments of capitalist society: dogs as financiers/industrialists, pigs as politicians and sheep as `the masses' who are essentially controlled and exploited by the other two groups. David Gilmour is credited as composer of only `Dogs', the musical high-point, with the lyrical content penned by Waters. The music for `Sheep' was worked out during the sessions for WYWH and performed during the previous couple of years (you can hear `Sheep' performed onstage and titled as `Rolling & Drooling' as an extra on the extended WYWH remaster).

The 2011 remaster is a great improvement over all previous releases of `Animals'. Vocal harmonies are crisp and bright, guitars beautifully balanced and Richard Wright's virtuoso keyboards anchor these epics to create a very professional sound. Released at the high-point of the British New-Wave movement in 1977, `Animals' makes few concessions to the new sound (i.e. it's not imitative or `sheep-like') but goes its own confident way. Musically it's survived the years well, even if its lyrical content now sounds simplistic and dated.

Sticky fingers
Sticky fingers
Offered by best_value_entertainment
Price: £13.52

7 of 7 people found the following review helpful
4.0 out of 5 stars The 2009 remaster of the Stones' iconic 1971 classic, 4 April 2015
This review is from: Sticky fingers (Audio CD)
`Sticky Fingers' was released in April 1971, the debut album on the band's own `Rolling Stones Records' label. It's the first Stones album to feature Mick Taylor playing on every track as a full band member, and to feature no musical contribution from band's founder (by then deceased) Brian Jones.

Musically SF's reputation is overshadowed by the epic follow-up `Exile on Main Street' but for many fans, including me, SF has the edge as an enjoyable rock album. The band is in overdrive and thoroughly enjoying themselves as they tear through a fine palette of rock and blues numbers, kicked off by the perennial rock anthem `Brown Sugar' (courting controversy as usual, Jagger's lyrics are all about the joys of having sex with dark skinned women), and tempered with the more mellow `Sway' and `Wild Horses'.

If you don't have this album and want to buy a hard copy, which of the many versions should you go for, or does it matter? The 2009 remaster is OK (NB the 2010 remaster of EoMS is unfortunately not as good) though some fans consider the result `too loud' and compressed. At least the hiss has been eliminated, and the subtleties of the music such as the sax solos are crisp and up-front. The 1994 Virgin release is also good, though not great. We've yet to be offered the definitive mix of SF (Steven Wilson, where are you?).
Comment Comments (2) | Permalink | Most recent comment: May 6, 2015 11:54 PM BST

Looking On
Looking On

4.0 out of 5 stars Looking back on Looking On, 29 Mar. 2015
This review is from: Looking On (Audio CD)
`Looking On' recorded in 1970 was Jeff Lynne's debut with The Move, persuaded to join by fellow Brummie Roy Wood following the departure of Carl Wayne and Trevor Burton. The resultant band became a talented three-piece: multi-instrumentalists Wood and Lynne, and drummer Bev Bevan.

The character of the music is much more 1970s-prog-rock than The Move's previous pop-oriented recordings. The 2008 re-issue is superbly remastered and expanded with 7x bonus tracks, most of them alternative takes of those on the original album.

The original album tracks benefit most from re-mastering the analog tapes. Long `heavy' numbers like the opener `Looking On' and closer `Feel Too Good' are juxtaposed with thumping rockers `Brontosaurus' and the rock-and-roll influenced `When Alice Comes Back to the Farm'. Jeff's `What?' and `Open Up Said the World at the Door' enrich the album and offer contrast to the heavier Roy Wood-influenced sounds.

Following the indifferent `Shazam', the ELO debut set Jeff Lynne on a new direction. `Looking On' is therefore a one-off with a character all its own, never repeated but interesting for fans of 1970s rock music especially for its inventive arrangements and deployment of non-standard instrumentation (cello for example, with a classic 9-note riff deploying its own time-signature in `When Alice comes back to the Farm').

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