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About the book: Softcover. May or may not be a first printing. Copyright page reads 1983. Errata page tucked inside. "Mayor's Office" Stamp present on first page and faint trace of same stamp on back cover. Book is in very good plus condition. Additional photos available upon request.

The SABRA POP FILTER, consisting of two parallel ortophonic rings, mounted onto a SPK SABRA PROTECTOR KIT Noise Protection System For Microphon...

Universal Stereo Bar with 3/8" and 5/8" ThreadsUniversal Quad Mic Bar with 5/8" Threads.

Universal Quad Mic Bar with 5/8" Threads.

Universal Quad Mic Bar with 5/8" Threads.

The Sabra-Som ST Pop Two-In-One Mini Kit an excellent and inexpensive combination between the ST2 stereo bar and the Uni-pop popfilter in a unique ...

Universal Stereo Bar with 3/8" and 5/8" Threads.

Need a new shockmount? Grab the all-in-one Sabra-Som SSM-Pop Universal Shockmount and Pop Filter system! To get your mic situated in the universal ...

Universal Quad Mic Bar with 5/8" Threads.

Universal Stereo Bar with 3/8" and 5/8" Threads.

The Sabra-Som SMC Magic Clamp can be used on a mic stand to clamp an instrument mic or clamped on to a drum or cymbal stand for percussion miking. ...

Universal Quad Mic Bar with 5/8" Threads.

Universal Stereo Bar with 3/8" and 5/8" Threads.

The SMC kit can be used for several purposes, such as: - Singer/acoustic guitarist: Mic. stand for the singer and SMC attached - In studio perform...

The SPF microphone pop filter system consists of two parallel ortophonic rings mounted on a brace and then fixed to an articulated arm which provid...

Her prints hang in the boardrooms of some of North America’s biggest corporations―and in the cabins of some of New England’s most rustic fishing camps. Among the few contemporary artists whose work has found an enthusiastic following well outside the traditional world of collectors and fine-art experts, Sabra Field has attracted a diverse and growing national audience. Her 1987 Vermont Bicentennial commemorative stamp, for example, depicting yellow farm fields, a red barn, and blue mountains, quickly became one of the U.S. Postal Service’s best-selling issues, with more than 60 million copies purchased. Author Tom Slayton says that Field, who lives deep in the Vermont countryside, brilliantly expresses “a rural zeigeist in her wood-block prints that is in the age-old traditional of pastoralism . . . which belies the underlying complexity of her work.” But while Field’s work falls solidly within the pastoral tradition, it also significantly updates it, striking a chord with activist environmentalists and policymakers and inspiring action not normally associated with the traditions of pastoral art. One of North America’s most accomplished contemporary printmakers, Sabra Field produces works of great beauty and boldness―with the power to command attention and appreciation at first glance and to endure the test of time in the eyes of their beholders. She is also coauthor of Before Life Hurries On.

The Sabras were the first Israelis―the first generation, born in the 1930s and 1940s, to grow up in the Zionist settlement in Palestine. Socialized and educated in the ethos of the Zionist labor movement and the communal ideals of the kibbutz and moshav, they turned the dream of their pioneer forebears into the reality of the new State of Israel. While the Sabras made up a small minority of the new society’s population, their cultural influence was enormous. Their ideals, their love of the land, their recreational culture of bonfires and singalongs, their adoption of Arab accessories, their slang and gruff, straightforward manner, together with a reserved, almost puritanical attitude toward individual relationships, came to signify the cultural fulfillment of the utopian ideal of a new Jew. Oz Almog’s lively, methodical, and convincing portrayal of the Sabras addresses their lives, thought, and role in Jewish history. The most comprehensive study of this exceptional generation to date, The Sabra provides a complex and unflinching analysis of accepted norms and an impressive appraisal of the Sabra, one that any examination of new Israeli reality must take into consideration. The Sabras became Palmach commanders, soldiers in the British Brigade, and, later, officers in the Israel Defense Forces. They served as a source of inspiration and an object of emulation for an entire society. Almog’s source material is rich and varied: he uses poems, letters, youth movement and army newsletters, and much more to portray the Sabras’ attitudes toward the Arabs, war, nature, work, agriculture, cooperation, and education. In any event, the Sabra remained central to the founding myth of the nation, the real Israeli, against whom later generations will be judged. Almog’s pioneering book juxtaposes the myths against the realities and, in the process, limns a collective profile that brilliantly encompasses the complex forces that shaped this remarkable generation.

The SABRA POP FILTER, consisting of two parallel ortophonic rings, mounted onto a brace and fixed on an articulated arm, has the function of attenu...