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In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life, listened to Bob Dylan for the first time. He had been hearing about the singer for close to three years; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Half listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously.\n\nThat almost-instant trust and rapport quickly grew into a friendship and they are part of the reason Schatzberg's sittings with Dylan work so successfully and are so important. Dylan is relaxed, he's funny, he takes the props that the photographer gives him and has fun with them - he's obviously not taking himself too seriously. Working and socialising together, Schatzberg would eventually do nine more photo shoots with Dylan from 1965-6, arguably the singer's most creative period, and capture the (now) Nobel laureate during one of the most pivotal moments in music history. Part of their uniqueness is their basic broad range of intimate and public locations: music and photography studios, live performances and street portraits. But more than that, each session (including the one for possibly his greatest album, 'Blonde on Blonde') says something different about Dylan, the man and the musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time.

In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life, listened to Bob Dylan for the first time. He had been hearing about the singer for close to three years; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Half listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously.\n\nThat almost-instant trust and rapport quickly grew into a friendship and they are part of the reason Schatzberg's sittings with Dylan work so successfully and are so important. Dylan is relaxed, he's funny, he takes the props that the photographer gives him and has fun with them - he's obviously not taking himself too seriously. Working and socialising together, Schatzberg would eventually do nine more photo shoots with Dylan from 1965-6, arguably the singer's most creative period, and capture the (now) Nobel laureate during one of the most pivotal moments in music history. Part of their uniqueness is their basic broad range of intimate and public locations: music and photography studios, live performances and street portraits. But more than that, each session (including the one for possibly his greatest album, 'Blonde on Blonde') says something different about Dylan, the man and the musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time.

Il primo libro che riunisce gli iconici scatti di Schatzberg fatti a Bob Dylan, all’apice della sua carriera.\r\n\r\n“Come soggetto fotografico, Dylan era il migliore. Bastava puntargli addosso l’obiettivo e le cose semplicemente accadevano. Abbiamo avuto un buon rapporto e lui era disposto a provare qualsiasi cosa.” — Jerry Schatzberg\r\n\r\nIl primo libro che riunisce gli iconici scatti di Schatzberg fatti a Bob Dylan, all’apice della sua carriera: i ritratti di studio, le fotografie in sala di registrazione, le rarità, i concerti.\r\nNel 1965, Jerry Schatzberg, già ben affermato attraverso il suo lavoro con le riviste, incontrò un giovane Bob Dylan che era all’apice della sua fama. Dylan invitò il fotografo nello studio dove stava registrando un album che sarebbe diventato Highway 61 Revisited, che includeva Like a Rolling Stone, canzone che avrebbe guadagnato il primo posto nella classifica di “Rolling Stone” dei cinquecento più grandi successi di tutti i tempi.\r\nLe fotografie di Schatzberg catturano Dylan durante uno dei momenti più cruciali della storia della musica e includono le riprese di quello che sarebbe probabilmente diventato il suo più grande album, Blonde on Blonde. Immagini essenziali e intramontabili, che non solo resistono alla prova del tempo, ma sono anche diventate visivamente sinonimi di uno degli artisti più importanti del XX secolo. Dylan ha venduto oltre cento milioni di dischi ed è uno degli artisti più venduti di tutti i tempi. Ha ricevuto numerosi premi tra cui undici Grammy Awards, un Golden Globe Award e un Academy Award. È stato inserito nella Rock and Roll Hall of Fame, nella Minnesota Music Hall of Fame, nella Nashville Songwriters Hall of Fame e nella Songwriters Hall of Fame. La giuria del Premio Pulitzer nel 2008 gli ha assegnato una citazione speciale per “il suo profondo impatto sulla musica popolare e sulla cultura americana, caratterizzato da composizioni liriche di straordinaria potenza poetica”. Nel maggio 2012 Dylan ha ricevuto la Presidential Medal of Freedom dal presidente Barack Obama. Nel 2016 è stato insignito del Premio Nobel per la letteratura “per aver creato nuove espressioni poetiche all’interno della grande tradizione musicale americana”.\r\nIl volume include i reprint di interviste seminali al menestrello di Duluth, compresa la mitica A night with Bob Dylan di Al Aronowitz, pubblicata sul “New York Herald Tribune” nel 1965.

Provides a thorough understanding of evolving treatments and medications. Blending evidence-based information with practical, real-world experience, this accessible volume examines the efficacy, dosing, and side effects of drug classes such as antidepressants, antipsychotic medications, mood stabilizers, and stimulants. Key features of this edition include the following:\n\nUpdated information on newly FDA-approved agents such as vesicular monoamine transporter type-2 inhibitors for tardive dyskinesia, as well as those in late-stage review.\nA new chapter on pharmacogenomic testing and other commercially available tests designed to help clinicians select appropriate medications for their patients.\nQuick-reference summary tables on psychotropic classes for swift access to essential information, facilitating informed decision-making in clinical practice.\nA comprehensive list of suggested readings for each chapter, opening the door to further study and exploration.\nAdditional sections also discuss approaches to treatment-resistant disorders, pharmacotherapy for substance use disorders, and working in specific settings and with special populations—including emergency department treatment and treating pregnant patients, children, and individuals from minority and marginalized communities.\n\n With its unrivaled wealth of information, Schatzberg’s Manual of Clinical Psychopharmacology remains a trusted, indispensable resource for clinicians seeking the latest advancements in psychopharmacology, arming them with the knowledge they will need to navigate with confidence the intricacies of psychotropic medications.

Provides a thorough understanding of evolving treatments and medications. Blending evidence-based information with practical, real-world experience, this accessible volume examines the efficacy, dosing, and side effects of drug classes such as antidepressants, antipsychotic medications, mood stabilizers, and stimulants. Key features of this edition include the following:\n\nUpdated information on newly FDA-approved agents such as vesicular monoamine transporter type-2 inhibitors for tardive dyskinesia, as well as those in late-stage review.\nA new chapter on pharmacogenomic testing and other commercially available tests designed to help clinicians select appropriate medications for their patients.\nQuick-reference summary tables on psychotropic classes for swift access to essential information, facilitating informed decision-making in clinical practice.\nA comprehensive list of suggested readings for each chapter, opening the door to further study and exploration.\nAdditional sections also discuss approaches to treatment-resistant disorders, pharmacotherapy for substance use disorders, and working in specific settings and with special populations—including emergency department treatment and treating pregnant patients, children, and individuals from minority and marginalized communities.\n\n With its unrivaled wealth of information, Schatzberg’s Manual of Clinical Psychopharmacology remains a trusted, indispensable resource for clinicians seeking the latest advancements in psychopharmacology, arming them with the knowledge they will need to navigate with confidence the intricacies of psychotropic medications.

Programmazione E Controllo - Horngren C.T.; Sundem G.; Burgstahler D.; Schatzberg J.; Agliati M.; Ditillo A. - Pearson