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'I am that by which I know"I am"'... In this collection of talks between master and devotee, the final discourses of Sri Nisargadatta before his death, we can recognise the voice of a truly original teacher. His way is that of atma yoga, the essential yoga of self-inquiry/ His words are simple, direct and yet subtle, charged with a powerful energy they cut through the self-imposed barriers of the mind to reach the borderline between Beingness and Non-Beingness. In language clear and astringent as water from a deep well Sri Nisargadatta demands nothing less than the complete abandonment of desire, even for spiritual experience, and offers in return nothing less than the pure awareness of Self which is beyond desire - the true bliss of Transcendence. For those who are earnest in their search for Self these discourses are a precious gift. --- from book's back cover

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UFO appeared on November 29th 1980 at the Westfalenhalle in Dortmund for a legendary Rockpalast-Concert. From the first notes of Lettin' Go you can hear an experienced band celebrating a compact, homogenic, and straight forward performance. Leaving the spacerock-area of the first two albums behind, UFO presented the highlights of their then recent albums Lights Out, Obsession, the best songs of No Place To Run, Lettin' Go, No Place To Run and the magnificent Elvis Presely-cover of Mystery Train

In November 1965, Ian Smith's white minority government in Southern Rhodesia (now Zimbabwe) made a unilateral declaration of independence, breaking with Great Britain. With a European population of a few hundred thousand dominating an African majority of several million, Rhodesia's racial structure echoed the apartheid of neighboring South Africa. Smith's declaration sparked an escalating guerrilla war that claimed thousands of lives.Across the Atlantic, President Lyndon B. Johnson nervously watched events in Rhodesia, fearing that racial conflict abroad could inflame racial discord at home. Although Washington officially voiced concerns over human rights violations, an attitude of tolerance generally marked U.S. relations with the Rhodesian government: sanctions were imposed but not strictly enforced, and hundreds, perhaps thousands, of American mercenaries joined white Rhodesia's side in battle with little to fear from U.S. laws. Despite such tacit U.S. support, Smith's regime fell in 1980, and the independent state of Zimbabwe was born.The first comprehensive account of American involvement in the war against Zimbabwe, this compelling work also explores how our relationship with Rhodesia helped define interracial dynamics in the United States, and vice versa.

In November 1965, Ian Smith's white minority government in Southern Rhodesia (now Zimbabwe) made a unilateral declaration of independence, breaking with Great Britain. With a European population of a few hundred thousand dominating an African majority of several million, Rhodesia's racial structure echoed the apartheid of neighboring South Africa. Smith's declaration sparked an escalating guerrilla war that claimed thousands of lives.Across the Atlantic, President Lyndon B. Johnson nervously watched events in Rhodesia, fearing that racial conflict abroad could inflame racial discord at home. Although Washington officially voiced concerns over human rights violations, an attitude of tolerance generally marked U.S. relations with the Rhodesian government: sanctions were imposed but not strictly enforced, and hundreds, perhaps thousands, of American mercenaries joined white Rhodesia's side in battle with little to fear from U.S. laws. Despite such tacit U.S. support, Smith's regime fell in 1980, and the independent state of Zimbabwe was born.The first comprehensive account of American involvement in the war against Zimbabwe, this compelling work also explores how our relationship with Rhodesia helped define interracial dynamics in the United States, and vice versa.

When Marta Traba died in a plane crash outside Madrid on November 27, 1983, the art world lost one of its most distinguished - and most outspoken - contemporary critics. The focus of stormy controversy in the UK when she was denied residency by the Reagan administration because of her political views, Traba had been active for decades in the field of art criticism. She was on her way to a symposium in Bogota, where she and her husband, Angel Rama, were to be guests of honour, when she died. The manuscript of the present book was recovered after her death. In "Art of Latin America", Marta Traba offers new insights into the work of Latin America's most significant 20th-century artists. She argues, for instance, that the Mexican Muralist Movement - traditionally seen as a consequence of the Mexican Revolution - in fact reflected a new attitude toward art which had its origins in European Modernism. She shows how countries with significant numbers of European immigrants, such as Argentina, Brazil and Mexico, became centres of lively experimentation in matters of form, while countries with large Indian populations were more subject to the movement's political influence. She also examines the growing Latin American avant garde of the 1950s, and the subsequent reaction to it that led to a renewal of drawing and printmaking. Illustrated with more than 100 full-colour reproductions of some of the finest works of 20th-century Latin American art, this book should be of interest not only to art historians and students of Latin America, but to all with an interest in contemporary art.

Double 180 gram audiophile vinyl LP pressing housed in a gatefold sleeve. On a cold November evening in 1980, 3000 jazz fans filled the Salle Wilfrid Pelletier Hall of Place des Arts in Montreal, Quebec to attend what promised to be, a swinging evening featuring six of the biggest names in bebop. Billed The Concert of the Century - A Tribute to Charlie Parker, and under the direction of Dizzy Gillespie - one of the best jazz trumpeters of all time - the event featured legendary performers: Hank

Motrhead TITLE: Ace Of Spades Ace of Spades is the fourth studio album by the band Motrhead, originally released November 8, 1980.

Vinyl LP pressing. Greatest Hits is the first compilation album by Aerosmith, released on November 11, 1980. It went multi-platinum and contained the songs that made the band an icon of the 1970s rock era. Some of the tracks were significantly edited from their original versions.

Paperback: 474 pages Publisher: Random House (November 12, 1980) Language: English ISBN-10: 0394739388 ISBN-13: 978-0394739380

Leon Golub (1922–2004) is best known for his iconic history paintings of mercenaries, interrogations, torture scenes, and the riots of the 1980s and ’90s. Published to accompany an exhibition at the National Portrait Gallery in London running from March  through November 2016, this collection of nearly all of Golub’s political portraits from 1975–1978, almost 100 paintings, offers a rich survey of his powerful style with analysis from curator Jon Bird and professor of art history Gill Perry.             Bird and Perry examine the ways Golub increasingly explored the effects of power upon the body through facial expressions, gestures, and poses, and how he invested his characters with psychological tension and depth. As they show, Golub always derived his source material from media representations, aiming to capture the way power—whether political, military, or social—is mediated through the camera lens. This “look of power” is the dominant characteristic of the portraits included here, all painted as part of his Political Portraits series of the 1970s, which captured historical figures—ranging from Fidel Castro and Henry Kissinger to Pinochet and Mao Tse-Tung—at various stages of their public office. With a narrative of arrogance and venality traced clearly across the face, these portraits forcefully show that power is uncompromising. The result is a startling collection of faces, arrestingly rendered through Golub’s signature, visceral style. 

The Cross and Reaganomics: Conservative Christians Defending Ronald Reagan, by Eric R. Crouse, offers important insights on why Reaganomics was a major reason conservative Christians supported Reagan at the polls. On election night in November 1980, Americans witnessed the victory of a conservative to the presidency. With the United States experiencing economic stagnation and high inflation, many were hopeful of Ronald Reagan’s deeds matching his optimistic rhetoric of America’s potential. What followed was a decade of economic transformation, military buildup, and a political awakening of conservatism. One story that has not received much attention is the relationship between conservative Christians and Ronald Reagan’s economic policies. Crouse argues that conservative Christians were among the strongest champions of limited government, free enterprise (particularly small business), and anticommunism. A surprising number of conservative Christian leaders discussed the works of major free market economists. Conservative Christians embraced and tapped into the traditional American values of individual opportunity, personal responsibility, and human freedom—all themes they believed were front and center in Reaganomics. Although American pluralism prevented any plan to Christianize the nation by politics, in the sphere of economics conservative Christians did witness political and cultural gains.

In November 1980, on the eve of John Lennon's untimely murder by a lone gunman, photographer Allan Tannenbaum had unique and total access to John and Yoko, who were emerging from five years of seclusion and avoiding the media. As one of the few photographers with whom John and Yoko were close, Tannenbaum was privileged to be able to capture many intimate moments between the two. The resulting photographs, many of which have never before been available to the public, portray a couple deeply in love--playful, spiritual, and remarkably at home in front of the camera while expressing their feelings to each other. John cherished these images of Yoko and was moved by their beauty and grace. The prologue to this volume documents, through a rare set of images, John Lennon's last live performance. After John's shocking murder in December 1980, Tannenbaum continued to photograph Yoko, as well as the vigils and memorials that immediately sprang up throughout the city. This bittersweet collection is both a celebration of and tribute to one of our greatest artists and an everlasting love affair.Foreword by Yoko Ono, introduction by Allan Tannenbaum.

The staff of the Las Vegas "Sun" describes, examines, and illustrates the circumstances and consequences of the November 1980 fire that killed eighty-four people and injured scores of others

In November 1980, on the eve of John Lennon's untimely murder by a lone gunman, photographer Allan Tannenbaum had unique and total access to John and Yoko, who were emerging from five years of seclusion and avoiding the media. As one of the few photographers with whom John and Yoko were close, Tannenbaum was privileged to be able to capture many intimate moments between the two. The resulting photographs, many of which have never before been available to the public, portray a couple deeply in love--playful, spiritual, and remarkably at home in front of the camera while expressing their feelings to each other. John cherished these images of Yoko and was moved by their beauty and grace. The prologue to this volume documents, through a rare set of images, John Lennon's last live performance. After John's shocking murder in December 1980, Tannenbaum continued to photograph Yoko, as well as the vigils and memorials that immediately sprang up throughout the city. This bittersweet collection is both a celebration of and tribute to one of our greatest artists and an everlasting love affair.Foreword by Yoko Ono, introduction by Allan Tannenbaum.

: Fitzwilliam Museum, Cambridge 25 November 1980-11 January . of Arts, London 31 January-15 March 1981Nos envois se font avec suivi, pour tout problème n'hésitez pas à nous contacter pour trouver une solution.

Kaleidoscopes developed into an important new art form as an unprecedented renaissance began in the late 1970s. It gained momentum in the 1980s with an article in the November, 1982 issue of Smithsonian Magazine, followed by the publication in 1985 of the first book on the subject, Through the Kaleidoscope, by Cozy Baker. At the same time Cozy curated the world's first exhibition of kaleidoscopes at Strathmore Hall Arts Center in Bethesda, Maryland. One year after this exhibition, Cozy founded the Brewster Society. The Brewster Kaleidoscope Society (BKS) was founded in 1986 by Cozy Baker as an international organization for kaleidoscope enthusiasts. Named after the inventor of the kaleidoscope, Sir David Brewster, its purpose is to share and promote the beauty, creativity, and joy of these mirrored tubes of magic. It serves as a network linking kaleidoscope artists, collectors, and retailers. Membership benefits include a quarterly newsletter, an annual convention, regional meetings, and a house/museum, maintained for members and open by appointment only.

This book is the catalogue of the exhibition The Clockwork Universe shown in Munich at the Bayerisches Nationalmuseum from April 15 to September 30, 1980, and in Washington, D.C. at the National Museum of Science and Technology from November 7, 1980 to February 15, 1981. 128 clocks are described and illustrated, several in color. 84 figures accompany the text.

Leon Golub (1922–2004) is best known for his iconic history paintings of mercenaries, interrogations, torture scenes, and the riots of the 1980s and ’90s. Published to accompany an exhibition at the National Portrait Gallery in London running from March  through November 2016, this collection of nearly all of Golub’s political portraits from 1975–1978, almost 100 paintings, offers a rich survey of his powerful style with analysis from curator Jon Bird and professor of art history Gill Perry.             Bird and Perry examine the ways Golub increasingly explored the effects of power upon the body through facial expressions, gestures, and poses, and how he invested his characters with psychological tension and depth. As they show, Golub always derived his source material from media representations, aiming to capture the way power—whether political, military, or social—is mediated through the camera lens. This “look of power” is the dominant characteristic of the portraits included here, all painted as part of his Political Portraits series of the 1970s, which captured historical figures—ranging from Fidel Castro and Henry Kissinger to Pinochet and Mao Tse-Tung—at various stages of their public office. With a narrative of arrogance and venality traced clearly across the face, these portraits forcefully show that power is uncompromising. The result is a startling collection of faces, arrestingly rendered through Golub’s signature, visceral style.