Polynesia $74.67 Polynesia

Holiday Polynesia $584.62 Holiday Polynesia is located in Benalmadena and local attractions include Fuengirola Beach, Trade Fair and Congress Center of Malaga, and La Carihuela. Additional area points of interest include La Bateria. Resort Features. Recreational amenities include an outdoor pool, a sauna, and a fitness facility. Complimentary wireless Internet access is available in public areas. A bar/lounge is open for drinks. Guest parking is available for a surcharge. Guestrooms. There are 328 guestrooms at Holiday Polynesia. Guestrooms have balconies. Televisions have satellite channels. Rooms also include separate sitting areas. Notifications:There are no room charges for children 2 years old and younger who occupy the same room as their parents or guardians, using existing bedding.

Vol. 2-Penthouse Culture Center $8.79 Vol. 2-Penthouse Culture Center

Vol. 1-Penthouse Culture Center $9.45 Vol. 1-Penthouse Culture Center

PENTHOUSE CULTURE CENTER: VOL. 2-PENTHOU $4.4 PENTHOUSE CULTURE CENTER: VOL. 2-PENTHOU

PENTHOUSE CULTURE CENTER: VOL. 1-PENTHOU $12.4 PENTHOUSE CULTURE CENTER: VOL. 1-PENTHOU

In Culture $10.39 Usually a five-year hiatus spells the death of a band’s career but, in Culture’s case, it was if the group was merely gathering strength for the long haul. After splitting up in 1981, the trio reformed in 1986 and recorded Culture in Culture. Once again Joseph Hill would take on the production mantle, but this time he was aided by Enos McLeod and Alvin Ranglin, which saved this album from the flaws of Hill’s previous effort, Lion Rock. Culture in Culture has a relaxed quality to the sound that perfectly fits the trio’s own more easygoing air. In the intervening years, Hill seems to have mellowed, the emotive excesses of the past have faded, and, while his delivery remains powerful, it’s now much more in keeping with the actual songs. With the return of Albert “Ralph” Walker and Kenneth Dayes, his vocals are better balanced; the pair’s sonorous harmonies offset Hill, who himself returns to occasional singing. The songs themselves are equally strong, with the production and arrangements emphasizing the melodies, and the album contains a clutch of interesting elements and musical blends. One of the highlights, “Peace and Love,” grafts a dancehall feel to a dubby reggae track, a hybrid especially created for a song promoting unity and peace in the dancehalls, the tinkling piano melody that shimmers in and out adding a further intriguing quality. “Capture Rasta” is even more dancehall-based, and here Hill’s vocals bleed into a pure toast, leaving one to wonder why the singer didn’t pursue a genre seemingly tailor-made for his delivery. Elsewhere, the trio engages in choral singing, delves into some stunning rocksteady, and fills the grooves with the pure, close harmonies of dread roots. The lyrical themes are equally diverse, from the dangers of gambling to the glory of performing, as well as diving back into history and other cultural themes, and praising Jah, of course. One of the strongest comeback albums around, a decade after the trio’s formation Culture returned with a winner. It may not have been as groundbreaking as Two Sevens Clash, but it’s a wonderful record nonetheless. ~ Jo-Ann Greene, Rovi Performers: Tommy McCook – Horn; Ansell Collins – Organ; Dwight Pickney – Guitar; Eric “Bingy Bunny” Lamont – Guitar; Erroll “Flabba Holt” Carter – Bass; Lincoln Style Scott – Drums; Robbie Shakespeare – Bass;

Culture $12.78 From the exotically atmospheric “Aria” to mellow, relaxing “Embrace,” Culture is another very well received work by artist Chris Spheeris. A variety of world fusion themes are interwoven with Spheeris’ original ambient compositions: south of the border sounds on “Margarita,” Native American-style chanting on “One,” east Indian rhythms and sitar on “Bombay,” and Spanish-influenced guitar on “Allura.” Definitely recommended for both fans of the artist and listeners who enjoy the best of ambient music. ~ Murrday Fisher, Rovi Performers: David Peterson – Oboe; Kris Yenney – Cello; Kim Murillo – Vocals; Kirstine Hebert – Flute; Russell Bond – Percussion; Zac Johnson – Sax (Alto)

Dances of Polynesia $6.15 Dances of Polynesia

Alcatel 256 KB/S Href Modem 9029680100B $234.45 Alcatel 256 KB/S Href Modem 9029680100B

Lonely Planet Tahiti and French Polynesia $21.99 Think Tahiti and French Polynesia and immediately your imagination is seduced by images of lapping lagoons, Gauguin paintings and Marlon Brando in his heyday. This guide will show you where that the essence can still be felt amid the newer resorts of these delicious islands. Maximize your trip with this Lonely Planet Tahiti and French Polynesia Travel GuideBonjour and welcome to Tahiti On your left youll find great French cooking and fresh seafood; on your right there are ancient Polynesian ruins and brilliant Tahitian dancing. Just offshore there are islands with golden beaches, world-class diving plus endless opportunities to just kick back and relax. We love Tahiti, and know these islands like our own backyard, so let us show you around. BEFORE YOU BOOK, read what our authors thought about your resort get the honest scoop. RELAX beachside with us and read up on Tahitian history, culture and mythology, then let us spin you inspiring tales of the mysterious outer islands. SAVE a few bucks here and there from planning your trip, to booking accommodation, well show you how to make sure your trip costs dont blow out of control. TRUST US Weve dived the dives and walked the walks, weve visited every resort, hostel and caf between the remote Tuamotus and the backstreets of Papeete. We know what were talking about

Vulture Culture [Expanded] $6.77 Vulture Culture’s theme is another in which the fallacy of humankind is front and center. This time Parsons’ message concerns the fact that everyone lives in a parasitic society, where it’s every man for himself. Those who can’t fend for themselves simply won’t survive in a world where the kindness of the human spirit is rapidly deteriorating. “Let’s Talk About Me” has a choppy rhythm and addresses the theme in its words, while the instrumental “Hawkeye” adds life and contrast to the album at just the right time. The most appealing song, “Days Are Numbers (The Traveller)” with vocalist Chris Rainbow at the helm, combines simplicity with a timeless chorus, making for a truly beautiful ballad. [The 2007 expanded edition includes five bonus tracks.] ~ Mike DeGagne, Rovi Performers: Chris Rainbow – Vocal Harmony, Vocals (Background), Harmony Vocals; Colin Blunstone – Vocals; David Paton – Bass, Vocals; Eric Woolfson – Keyboards, Piano, Vocals; Ian Bairnson – Guitar; Lenny Zakatek – Vocals; Richard Cottle – Keyboards, Synthesizer, Saxophone; Stuart Elliott – Percussion, Drums

Hawaii America’s Polynesia $16.96 Born of volcanic fires and lava, the Hawaiian Islands are the summits of a great volcanic mountain range which stretches nearly 2,000 miles across the ocean floor. Third largest and best known, Oahu, is traditionally the first landing place for visitors and site of Honolulu, Waikiki, Diamond Head and Pearl Harbor. Maui, second largest in the chain, is the site of Haleakala (house of the Sun), an immense dormant volcano, and the old, once-lusty whaling port of Lahaina.On Kauai is the wettest spot on Earth and the island is noted for its lush foliage. The island of Hawaii is the easternmost island of the chain. It is the southernmost point in the United States and is nearly twice as large as the other seven islands combined, appropriately called the ô Big Islandö or the ô Orchid Island.ö Here is the state’s highest mountain, Mauna Kea. Here too, within Hawaii Volcanoes National Park, are Mauna Loa and Kilauea, both very live volcanoes in one of the world’s most spectacularly active volcanic areas. Every island has good public swimming beaches. Scuba divers and snorkelers delight exploring Hawaii’s colorful offshore reefs. Catamarans and outriggers add an island flavor to sailing. ò Oahu Island, Waikiki, Outrigger Canoes, Surfing: a beach weddingò The Arizona Memorial, A tragic moment in historyò Hanauma Bay, A popular underwater preserveò Nuumanu Pali, Historic site and wind funnelò Waimea Valley and Falls, Some ôold Time Hawaiiöò The Polynesian Cultural Center, Five worlds of Polynesiaò Hawaii Island, Kailua/Kona, Hawaii’s play portò Hawaii Volcanoes National Park, A lava flow into the seaò Maui Island, Kahalui Port, North Shore windsurfingò The Road to Hana, 54 one-lane bridges and breathtaking views Lahaina City, The old whaling port, A sugar cane trainò Molokini, Clear water and thousands of fishò Kauai Island, Nawiliwili Harbor and a cruise shipò Poipu, The Garden Island’s Garden Spotò A Helicopter tour of Waimea Canyon and the NA Pali Coastò Hanalei, A city beneath the Wettest Spot on Earth

Missions in Western Polynesia $31.12 Missions in Western Polynesia

Kitchen Culture $23.97 Kitchen Culture is a beautifully illustrated reference for creating the home’s busiest and most important room. The book explores how the kitchen influences sociability, family life and relationships with food and also examines how changing attitudes towards family life are changing kitchen design. Each generation invents its ideal kitchen — reflecting personal views, lifestyles and the latest design concepts and technology. Kitchen Culture provides critical design advice for maximizing the role the kitchen plays. The book offers fresh ideas and fascinating possibilities for using the kitchen as a lounge, retreat, library, art gallery, playroom, activity center and hospitality zone. Topics include: Effective kitchen storage Working triangles and ergonomics Cooking, small appliances and tools Facilities for cooking Lighting, floors and work surfaces. Practical tips on materials and craftsmanship are also included along with a source list of suppliers and manufacturers. Kitchen Culture is the ideal reference for anyone designing a new home or remodeling a kitchen.

Lonely Planet Tahiti & French Polynesia $17.16 Lonely Planet Tahiti & French Polynesia

Culture of Fear $13.57 Despite its pointed title, Culture of Fear is not quite as politically minded as Thievery Corporation’s previous studio album. While dubwise tracks such as “Overstand” and “False Flag Dub,” along with the Mr. Lif feature “Culture of Fear,” continue the themes of 2008’s Radio Retaliation, a higher number of cuts — including “Take My Soul,” “Where It All Starts,” “Is It Over?,” and “Safar (The Journey)” — feature the duo’s heavy-lidded grooves with seductive female vocals. ~ Andy Kellman, Rovi Performers: Dave Finnell – Horn; Frank Mitchell Jr. – Horn; Andrew Black – Drums; Ashish Vyas – Bass; Chris “Ras Puma” Smith – Vocals; Darrell Burke – Keyboards; Federico Aubele – Guitar; Jeff “Jahlex” Alexander – Guitar; Jeff Franca – Melodica, Percussion, Drums; LouLou Ghelichkhani – Vocals; Mr. Lif – Vocals; Robbie Myers – Guitar; Shana Halligan – Vocals; Sleepy Wonder – Vocals; Sylvia Bernice Eberhardt – Vocals; Tamara Wellons – Vocals; Will Rast – Organ, Keyboards

Bass Culture $9.59 I remember at the time of its release that many reviewers considered Bass Culture a slight disappointment because it didn’t reach the highs of Forces of Victory. Granted, following up a record as great as Forces of Victory is no easy task, but all these years later I wonder what were people thinking. Bass Culture is tremendous, another successful collaboration between Johnson and Bovell with songs that are, at times, even more confrontational (e.g., “Inglan is a Bitch”) than anything he had previously recorded. I will admit that the Dub Band sounds better on Forces of Victory, but Johnson is hitting his stride at the time of this release and experimenting with song structure and lyrics a little more (i.e., not everything is explicitly political here). Still, I defy anyone to come up with a reason to not own this record. An extra added bonus is John Kpiaye’s great guitar playing. ~ John Dougan, Rovi Performers: Dick Cuthell – Flugelhorn, Trumpet; Julio Finn – Harmonica; Patrick Tenyue – Flugelhorn, Trumpet; Buttons Henry Tenyve – Sax (Tenor); Clifton Bailey – Percussion; Dennis “Blackbeard” Bovell – Keyboards; Everald Forrest – Percussion; Floyd Lawson – Bass; Jah Bunny – Percussion, Drums;

Roots & Culture $9.58 In the early ’80s when “artist meets artist” clash albums were becoming a popular format for reggae releases, producer and label owner Henry “Junjo” Lawes released Roots & Culture on his Jah Guidance imprint. This Culture meets Don Carlos effort is simply a one side Culture, one side Don Carlos affair since the two acts never collaborate. What’s even more important is that this edition of Culture does not feature leader Joseph Hill. Hill, the most identifiable member of the group, was at the time using the Culture name himself for a solo career, but here it refers to remaining members Kenneth Lloyd Dayes and Albert Walker. They do a fine job delivering laid-back, spiritual roots music like the opening “Tell Me Who Jah” and an even better job with the lighter, uplifting tunes like “Rub a Dub Train” and “Jah Tabernacle” which is delivered over the always pleasant “Three Blind Mice” riddim. The Don Carlos side features early versions of later hits like “Hog & Goat” and “Say You Will Be My Baby” — better known as “Ride on Christine” — along with the light dancehall vibe of “Rub a Dub Queen” which brings reminders of his massive hit “Laser Beam.” Solid grooves and good tunes but without Hill and the Channel One versions of the Carlos hits, this fringe release is best suited for the reggae faithful, not the casual fan. ~ David Jeffries, Rovi Performers: High Times Band & the Roots Radics – Various

Culture Reject $22.39 At first blush, Michael O’Connell (the driving force behind Culture Reject) doesn’t seem like the kind of guy you’d describe in terms like “inspirational,” “optimistic,” or “uplifting.” His gravelly, world-worn voice, something like a cross between Everlast’s wry, stoned grit and Devendra Banhart’s loopy, octave-defying croon, is eminently dead-pan — and when it isn’t dead-pan it’s pained, or lonesome, or darkly humorous. But uplifting he is, and tender, too, and Culture Reject’s self-titled debut offers up a promising and genuinely affecting spin. This disc is a kind of chameleon act, with O’Connell trying on various stylistic hats. He has his Animal Collective hat, evidenced by the scribbly, jumpy experimentalism of “Museums.” He has his Sufjan Stevens hat, evidenced by the hand-clappy, multi-instrumental sweetness of “Oh Remain” and “Blueprint.” And he has his Devendra Banhart hat, evidenced by the languid, earthy Latin influences evident throughout most of the album, particularly on tracks like “Overflow” and “Hong Kong Beach, Pt. 1.” The album is, in other words, a pastiche of various influences, but they all effortlessly blend together into a cohesive whole. You could say that Culture Reject is, in effect, a kind of expert balancing act, and it isn’t just limited to its musical influences. The intelligence and buoyancy of O’Connell’s multi-instrumental arrangements offer an optimistic contrast and balance to his otherwise dark and moody lyrics — and they are moody; “Inside the Cinema,” for all its bouncy hand-claps, is in its way a kind of stoic, urban prayer (“Come, culture reject. Expect respect. You protect what is good.”). Clocking in at just over half an hour, Culture Reject is an awfully brief introduction to O’Connell, but it’s a memorable one — if only because he can successfully pull off sounding both like a street-smart folk singer and sweet-smart indie popper in the span of a single track. ~ Margaret Reges, Rovi Performers: Bernardo Padron – Saxophone; Jim Guthrie – Glockenspiel, Vocals, Drums; The Dave Clark Five – Percussion

Vulture Culture $14.44 Ghetto Priest is not yet a household name in the United States, but on the U.K. reggae and underground scenes he is something of a hot commodity, guesting on albums by Asian Dub Foundation, Groove Armada, Little Axe, and Sinéad O’Connor, serving as MC for Adrian Maxwell Sherwood’s On-U Sound label, and performing as a permanent member of African Head Charge’s live lineup. On his solo debut, Vulture Culture, many of these artists return the favor, contributing instrumental and vocal parts to a wildly varied but deeply rootsy modern reggae program. The album opens with a muscular remake of the Singers & Players’ classic “Dungeon,” on which the original one-drop rhythm is replaced by a powerful funk beat even as the late Prince Far I’s chanted vocal is resurrected to accompany Ghetto Priest’s mellifluous singing. Things bog down a bit on the pedestrian “Masters of Deception,” which sounds like Strange Parcels on an off day, but they quickly pick up again with the dark and rootsy “Dry Bone” (which incorporates some fine rockstone toasting from Simon Bogle). Several of the album’s finest tracks feature Irish chatter. Ri Ra, whose speed-rap performance on “Show Them” is especially inspired, also brings traditional Celtic influences to “Visionary” and “Rise Up.” All in all, Vulture Culture is a welcome return to form for the On-U Sound label, and an equally welcome debut from a major young talent. Highly recommended. ~ Rick Anderson, Rovi Performers: Catchwise – Slide Guitar; Ghetto Priest – Spoken Word, Vocal Harmony, Harmony Vocals, Vocals (Background), Vocals; Junior Delgado – Vocals (Background); Prince Far I – Sampling; Crucial Tony – Guitar; Dashie – Percussion; Jazzwad – Bass, Drums; Keith LeBlanc – Drums; Omar Perry – Vocals;

Fossil Culture $14.38 Fossil Culture opens with atmospheric call-and-response guitar waves. Wide, light layers of distortion and fuzz play until low-grade drum’n’ bass gets scattered in, turning the track into a reminiscence of early mainstream industrial, like a Ministry dance club mix. Throughout the album, Peter Frohmader’s sampling and cheap synth work seem overexerted in attempts to reach a melodramatic, epic peak. Using Depeche Mode-era sounds in an attempt to produce mind-expanding music is unlikely, but for simply spacing out to, Pinhas’ guitar work is the strong point of this album. ~ Joslyn Layne, Rovi Performers: Peter Frohmader – Bass, Synthesizer; Richard Pinhas – Guitar

At the Center $13.58 Jazz composer/arranger/theorist George Russell used to explain his piece “Dimensions” as “a sequence of freely associated moods indigenous to jazz.” Same could be said about At the Center but this time the person doing the free associating doesn’t come from the world of jazz, at least not as far as his previous records have let on. As Meat Beat Manifesto, Jack Dangers has been responsible for some of the most in-your-face dance music available, recorded for the seminal industrial dance label Wax Trax, and paved the road for the garish sound of big beat. Dangers doesn’t have the downtown pedigree that made DJ Spooky such a shoo-in for Thirsty Ear’s Blue Series, but as At the Center displays, he’s up to the series’ “pushing the jazz envelope” challenge. Hearing jazzers Peter Gordon (flute), Dave King (drums), and Craig Taborn (keyboards of all types) interact with Dangers’ soundtracky and experimental constructions stops just short of being compelling, but it’s refreshing that no one is reduced to being a session musician. On “United Nations Etc. Etc.,” Gordon finds plenty of inspiration in Dangers’ groove, and Taborn is always contributing, adding funky fills, fluid improvs, and stabbing soul-jazz. Dangers himself proves to be a serviceable bass flute and bass clarinet player, but it’s with the “everything else” that he’s credited with that he really shines. Besides laying down some trippy soundscapes, he provides both snippets and lengthy tapes of dialog that give the improvisers something that’s more tangible and narrative than what they’re used to, and that’s the record’s big draw. Hearing Gordon, King, and Taborn respond to quirky readings of freaky classifieds on “Want Ads One” is an eye-opening experience. The band just shuffles underneath the taped voice, until the pitifulness of all this desperation works them into a more brittle and punchy workout. Jazz musicians versus the mundane world could be what Dangers is getting at, and it works. A couple entirely abstract numbers are less satisfying but serve a purpose by fleshing the album out nicely. ~ David Jeffries, Rovi Performers: Kenneth Rexroth – Speech/Speaker/Speaking Part; Craig Taborn – Hammond B3, Fender Rhodes, Clavinet, Organ (Hammond), Piano (Grand), Piano; Dave King – Percussion, Drums; Jack Dangers – Various, Clarinet (Bass), Flute (Bass), Bass; Peter Gordon – Flute

Hate Culture $11.18 Hate Culture is the debut album from ‘William Control’ (the side project of Aiden’s Wil Francis) The album is released through Victory Records. A clip called ‘Taste’ and a preview of the song ‘Strangers’ have been released through Myspace. The album features the song ‘Beautiful Loser’. William Roy Francis was born in Seattle, Washington. During his early years, Wil had an interest in music inspired by bands like Red Hot Chili Peppers Performers: Brit Asema – Vocals (Background); Shanine Xavier Yngvason – Vocals (Background); Juliana Bicknell – Vocals; William Control – Vocals

Western Culture $14.38 The group’s fourth and final studio LP, Western Culture remained for a long time Henry Cow’s hidden treasure. Two factors were instrumental to its occultation (and one more than the other): first, it was not released by Virgin like the other ones; second, it did not have the “sock” artwork common to its brothers. Obscurity aside, Western Culture remains one of the group’s strongest efforts in the lines of composition, especially since the unit was literally torn apart at the time. Side one consists of a suite in three parts, “History & Prospects,” written by Tim Hodgkinson. The opener, “Industry,” stands as one of Henry Cow’s finest achievements, the angular melody played on a cheap electric organ hitting you in the face so hard it makes an imprint in your brains. Side two features another suite, this one in four parts and by Lindsay Cooper. While Hodgkinson’s music leans toward rock, energy, and deconstruction, her writing embraced more contemporary classical idioms. Filled with contrasting textures and delicate complicated melodies, these pieces showcased another aspect of the group’s sound while foretelling her later works. Swiss pianist Irène Schweizer performed a cadenza of sorts in “Gretel’s Tale.” ~ François Couture, Rovi Performers: Lindsay Cooper – Sopranino Recorder, Bassoon, Wind, Recorder, Oboe, Sax (Soprano); Anne Marie Roelofs – Violin, Trombone; Chris Cutler – Noise, Drums (Electric), Trumpet, Drums, Vocals, Piano; Fred Frith – Keyboards, Violin, Sax (Soprano), Guitar (Electric), Guitar, Bass, Guitar (Acoustic); Georgie Born – Bass; Irène Schweizer – Piano; Tim Hodgkinson – Hawaiian Guitar, Keyboards, Organ, Vocals, Sax (Alto), Clarinet, Guitar, Piano, Saxophone

Passport to Culture – The World Culture Game $1 WINNER Museum Tour Product of the Year award for 2004-2005. AND 2004 Winner of National Parenting Center Seal of Approval. Test your knowledge of world cultures from Andorra to Zimbabwe as you travel North, East, South, or West, visiting all the countries in between. Simple to play, challenging to master, amusing and educational too Passport To Culture is the unique, exciting board game where players circle the globe, uncovering the mysteries of our amazing world. A game thats an international education unto itself, Passport to Culture is part quiz, part cultural exchange, and all fun. Challenge your CQ (Cultural Intelligence) with fascinating, fun-filled questions about people and places, food drink, world treasures, greetings and gestures, or customs and traditions for all of the worlds countries and encounter surprising scenarios while traveling the globe. A Cultural IQ score measures each players global smarts, and no one ever really loses because everyone always learns something new

Low Culture $15.98 Jim Moray has had a huge impact on English folk music. His debut appeared out of nowhere as a revelation, then, after a sophomore effort that held promise but not a lot of focus, he’s returned with Low Culture, which continues the revolution. It’s perhaps most evident on his treatment of the incest ballad “Lucy Wan,” where the rap between verses (courtesy of Bubbz) adds a whole new dimension to the song, making it more personal — as well as taking trad. folk into grime. And why not? In their way, both are equally folk music. “All You Pretty Girls” transmutes the XTC song into a sea shanty in a most effective manner, while “Across the Western Ocean” takes on an ‘80s feel, right down to the a-ha break into falsetto. There’s also a lovely treatment of Bella Hardy’s “Three Black Feathers,” a song that might be new, but which sits perfectly within the tradition. Throughout, Moray’s voice exudes the kind of warmth and personality that draws the listener in (as do his arrangements — at least for those with an open mind). It’s folk music for the 21st century, a reinvention of what’s gone before, building upon it and filled with plenty of surprises — “Leaving Australia,” for example, uses both kora and thumb piano, either of which are typical English folk instruments. It’s the kind of album to outrage purists, but please others — and a little division is never a bad thing. ~ Chris Nickson, Rovi Performers: Nick Cooke – Melodeon; Beth Porter – Cello; Emma Hooper – Viola; James Delarre – Choir, Chorus, Violin; James Fagan – Choir, Chorus; Jasper Future – Choir, Chorus; Jim Causley – Choir, Chorus; Nancy Kerr – Choir, Chorus; Tim van Eyken – Choir, Chorus; J

Palmyra Island, Line Islands, Polynesia. – Randy Olson $169 Schools of mulletfish (Mugilidae) prudently detour around a blacktip reef shark (center) (Carcharhinus melanopterus) just off Home Island of the Palmyra Atoll .

Culture Vultures $15.18 When Orson uprooted from their L.A. home and moved camp to the U.K., they were taking a big gamble with their career. When their debut album Bright Idea and it’s accompanying singles made them stars in Europe, it was obvious that their gamble had paid off big time. With great songs and a snappy image, this pop/rock quintet certainly deserved the acclaim and success that they received. Comparisons were made to former L.A. brethren Maroon 5 but, although similarities do exist, Orson came off like M5′s older, wiser brothers who chose to mix their soul influences subtly into their musical brew instead of hitting people on the head with it. So, when the boys in Orson prepared their sophomore album for release, they spoke of an edgier sound, which, in the music business, often means that they couldn’t come up with the melodic goods and they rocked out instead. Not so with Culture Vultures! In fact, if you took every great aspect of their debut and multiplied it by ten, then that is what this album is: a stunning display of fun, hooky songs played with imagination and energy. From opener “Radio” to the album’s closer “Everybody,” Culture Vultures is one hell of a great time. Imagine great ’70s “radio” pop and soul hits thrown into a blender with a little punk, a few pinches of new wave, and some chugging alt-rock guitar, then pour the whole mixture over a white, spongy angel-food cake and let the party begin! The album’s first single “Ain’t No Party” was the complete opposite of its title: it was the party single of the year. Cuts like the aforementioned “Radio,” “Little Miss Lost and Found,” and “Gorgeous” get the blood pumping in your veins like only true love can. The brilliant “Broken Watch” was scheduled as the album’s second single but was canceled when sales of the album hadn’t performed as well as expected. Now, tell me, how could an album this fantastic (and I do mean fantastic) not sell millions of copies world-wide? And why have the American record labels ignored Orson? If this was a perfect world (and we all know that it isn’t), then you’d already know about Orson and Oasis would be begging to open for them. But alas, Oasis still rule the Brit-pop/alt-rock roost and continue to release marginal albums while bands like Orson are virtually ignored…but ain’t that always the way? It goes without saying that Culture Vultures is definitely one of the best pop/rock albums of 2007 if not the best. ~ Steve “Spaz” Schnee, Rovi Performers: Ben Edwards – Trumpet; Benny Edwards – Trumpet; Chris Cano – Drums; George Astasio – Guitar; Helen Goatly

Junk Culture $10.39 Smarting from Dazzle Ships’ commercial failure, the band had a bit of a rethink when it came to their fifth album — happily, the end result showed that the group was still firing on all fours. While very much a pop-oriented album and a clear retreat from the exploratory reaches of previous work, Junk Culture was no sacrifice of ideals in pursuit of cash. In comparison to the group’s late-’80s work, when it seemed commercial success was all that mattered, Junk Culture exhibits all the best qualities of OMD at their most accessible — instantly memorable melodies and McCluskey’s distinct singing voice, clever but emotional lyrics, and fine playing all around. A string of winning singles didn’t hurt, to be sure; indeed, opening number “Tesla Girls” is easily the group’s high point when it comes to sheer sprightly pop, as perfect a tribute to obvious OMD inspirational source Sparks as any — witty lines about science and romance wedded to a great melody (prefaced by a brilliant, hyperactive intro). “Locomotion” takes a slightly slower but equally entertaining turn, sneaking in a bit of steel drum to the appropriately chugging rhythm and letting the guest horn section take a prominent role, its sunny blasts offsetting the deceptively downcast lines McCluskey sings. Meanwhile, “Talking Loud and Clear” ends the record on a reflective note — Cooper’s intra-verse sax lines and mock harp snaking through the quiet groove of the song. As for the remainder of the album, if there are hints here and there of the less-successful late-’80s period, at other points the more adventurous side of the band steps up. The instrumental title track smoothly blends reggae rhythms with the haunting mock choirs familiar from earlier efforts, while the elegiac, Humphreys-sung “Never No More” and McCluskey’s “Hard Day” both make for lower-key highlights. ~ Ned Raggett, Rovi Performers: Malcolm Holmes – Latin Percussion, Drum Machine, Drums (Electric), Drums, Percussion; Martin Cooper – Marimba (Electronics), Roland Synthesizer, Prophet 5, Emulator, Multi Instruments, Marimba, Synthesizer, Keyboards, Saxophone, Sax (Soprano), Sax (Tenor); Paul Humphreys – Korg Synthesizer, Fairlight CMI, Prophet 5, Roland Synthesizer, Fairlight, Celeste, Emulator, Multi Instruments, Percussion, Synthesizer, Vocals, Piano, Keyboards; Bart Van Lier – Brass, Vocals (Background), Trombone, Saxophone; Tony Visconti – Brass; Andy McCluskey – Fair

Cross Culture $12.78 Jay Collins has been influenced by many musicians, among them Steve Lacy, Dewey Redman, and Don Cherry. It is from the latter player and others like him that he has been encouraged to take a more adventurous approach to jazz. One area he has explored with success is drawing on the music of non-Western cultures, and this album integrates jazz with music from the Middle East and India, even though all but one of the compositions were written by Collins. Employing not only Western musical instruments but also the bansuri (Indian flute) and the oud (Middle Eastern lute), Collins and his band create engaging and intriguing mixtures of musical genre, often within the same song. “Ladino Song” combines Asian-based music with a Johannes Weidenmueller bass playing a bop line, creating an unusual musical spice. “Little Miracles” features Collins’ sax wailing away on what sounds like a Jewish rhapsody interspersed with Michael Mazor’s bop rhythms, while “Zukra” is the kind of music one associates with Turkish dances (aka “belly dancing”). With Collins’ both languorous and probing tenor sax leading the way, “Oasis” suggests the relief one feels upon finding a safe haven in the middle of the desert. This album will attract those who want to be challenged (and entertained) and who believe that there should be no inhibitions in the improvisational adventures that help make jazz the compelling music that it is. Collins and his confreres are excellent musicians and are well versed in fusing music from different cultures with jazz forms. This expertise gives this album a high level of authenticity. Cross Culture is recommended. ~ Dave Nathan, Rovi Performers: Amos Hoffman – Oud, Percussion, Guitar; Jay Collins – Bansuri, Sax (Tenor), Sax (Soprano), Flute; Johannes Weidenmüller – Bass

Garmin VPC019R – Polynesia – SD Card $278.86 GARMIN VPC019R POLYNESIA G2 VISION SD

BD Falcon Center-Well Organ Culture Dish, 60mm, 500/cs $1070 Features of the BD Falcon Center-Well Organ Culture Dish: Tissue-culture treated polystyrene. Vacuum-gas plasma tissue-culture treated polystyrene for uniform surface chemistry, cell attachment, spreading and growth. Flat, optically clear, manufactured from crystal grade polystyrene. Lid designed for optimal gas exchange. Stacking rings. Sterilized by gamma irradiation, nonpyrogenic. Typical working volume: 6.0-7.0 mL. Size: 60 mm x 15 mm. Round. Sterile. Latex-free.

Culture Swing $14.38 If Joan Baez or Tracy Chapman were influenced by the Mexican-American music of Texas, they might sound something like Tish Hinojosa — a charming singer/acoustic guitarist who sings mostly in English but can be equally convincing in Spanish. Categorizing this expressive vocalist isn’t easy. While “By the Rio Grande,” “The Window,” and “San Antonio Romeo” bring Tex-Mex touches to the Anglo-American folk and singer/songwriter traditions, “Corazon Viajero (Wandering Heart)” and “Chanate, El Vaquero” are Spanish-language gems that would please Mexican traditionalists. “Drifter’s Wind” and “Louisiana Road Song” essentially fall into the country category, while “San Antonio Romeo” pays homage to the Western swing sound defined by Bob Wills. Unpredictable as well as moving, Hinojosa showed considerable promise on this enriching CD. ~ Alex Henderson, Rovi Performers: Marvin Denton Dykhuis – Charango, Guitar (Rhythm), Vocals (Background), Vocals; Arturo Garza – Conga, Bongos; Bradley Kopp – Vocals (Background); Danny Levin – Cello, Vocals, Piano, Violin; Flaco Jiménez – Accordion; Gary Primich – Harmonica; Gene Elders – Fiddle; Paul Glasse – Mandolin; Tish Hinojosa – Vocal

Horn Culture $9.58 This decent effort from Sonny Rollins finds the classic tenor saxophonist at his best on “Good Morning Heartache” and “God Bless the Child” although some of his own originals seem a touch lightweight. His backup band (which includes keyboardist Walter Davis, Jr., and guitarist Masuo) is supportive but somewhat anonymous. Nothing too essential occurs but the music is generally enjoyable. ~ Scott Yanow, Rovi Performers: Bob Cranshaw – Bass (Electric), Guitar (Bass); David Cory Lee – Drums; David Lee – Drums; James Mtume – Percussion; Mtume – Piano, Percussion; Sonny Rollins – Sax (Tenor), Sax (Soprano); Walter Davis, Jr. – Piano, Piano (Electric); Yoshiaki Masuo – Guitar

Buppie Culture $19.19 Another of four Macka-B Ariwa/Ras sessions issued in 1990, this one took vicious swipes at upper and upper-middle-class blacks worldwide, although much of what he bemoans in the title track would probably would apply more to African-Americans than any other group. His rhetoric gets incendiary at times, skirting the lines of racism (or at least anti-white venom) on “Hole In The Atmosphere.” But he also includes universal themes in “Human Rights,” “Respect Our Mothers,” and “We Love The Children.” He’s more strident and forceful on these nine tracks, and although still not the most exciting DJ, Macka-B was an effective protest voice on this release. ~ Ron Wynn, Rovi Performers: Black Steel – Bass, Keyboards, Guitar; De Mondo – Bass, Keyboards; Macka B – Guitar, Percussion; Macka Dub – Bass, Percussion, Keyboards; Robotics – Drums; Robotiks – Drums; Victor Cross – Keyboards, Bass

Death Culture $23.99 Noctiferia, like Laibach, are from Slovenia, which the bandmembers describe as a “not priority market” country. Like Laibach, they are politically engaged, but this manifests itself not in edgy costumed satire that pokes fascism through an ultra-earnest, stone-faced embrace of fascist aesthetics, but through fairly standard downtuned thrash metal. This record’s distorted, ultra-compressed guitars and pummeling drums will be familiar to anyone who’s already a fan of Hypocrisy (that band’s leader, Peter Tägtgren, produced the record), Strapping Young Lad, or Slipknot (“Monarch” sounds like an outtake from Iowa). They’ve got enthusiasm on their side, and a few songs here have a nice industrial rock tinge in addition to the nü-death metal that’s the core of their sound, and there are some cool, weird guitar solos, but this isn’t the kind of record that’s gonna inspire wild enthusiasm or make anyone call Noctiferia their favorite band ever. It’s just a fairly enjoyable, brutal yet catchy metal album, no more and no less. ~ Phil Freeman, Rovi Performers: Gianni Poposki – Percussion, Vocals; Igor Nardin – Keyboards, Guitar; Mathias Gergeta – Drums, Percussion; Robert Grdic-Grga – Vocals; Roman Files – Guitar; Uros Lipovec – Bass

Pacific Arts of Polynesia and Micronesia $24.23 Comprising thousands of islands and hundreds of cultural groups, Polynesia and Micronesia cover a large part of the vast Pacific Ocean, from the dramatic mountains of Hawaii to the small, flat coral islands of Kiribati. The Pacific Arts of Polynesia and M

Garmin / Garmin VPC019R – Polynesia – SD Card / 010-C0866-00 $265.56 Garmin – Garmin VPC019R – Polynesia – SD Card – 010-C0866-00

Bluechart G2 HXPC019R Polynesia MicroSD & SD- $137.94 Garmin Bluechart G2 – HXPC019R – Polynesia – MicroSD & SD

Vpc019R Polynesia G2 Vision Sd(Pack of 1) $968.99 Garmin Vpc019R Polynesia G2 Vision Sd

BluchrtG2 Hxpc019R Polynesia Microsd & Sd(Pack of 1) $484.99 Garmin Bluchrt G2 Hxpc019R Polynesia Microsd & Sd

Bora Bora, Society Islands, French Polynesia – Todd Gipstein $49 Center of Bora Bora and outer rim as seen from a helicopter

Culture Plaza Hotel Zhejiang $100.91 Culture Plaza Hotel Zhejiang is located in Hangzhou’s Xihu neighborhood, close to Yellow Dragon Sports Center, Baochu Pagoda, and Broken Bridge. Nearby points of interest also include Zhejiang University and Zhejiang Museum. Hotel Features. Culture Plaza Hotel Zhejiang features a restaurant and a bar/lounge. Recreational amenities include a health club and a sauna. Spa amenities include massage/treatment rooms and a hair salon. This 3.5 star property has a business center. This Hangzhou property has event space consisting of banquet facilities and conference/meeting rooms. Guest parking is complimentary. Additional property amenities include a concierge desk, gift shops/newsstands, and currency exchange. Guestrooms. There are 174 guestrooms at Culture Plaza Hotel Zhejiang. Bathrooms feature phones, makeup/shaving mirrors, bathrobes, and slippers. Wireless Internet access is complimentary. In addition to in room safes, guestrooms offer direct dial phones. Televisions have satellite channels. Air conditioned rooms also include minibars and electronic/magnetic keys. Rollaway beds are available on request.

VPC019R – Polynesia – SD Card $274.94 VPC019R – Polynesia – SD Card VPC019R Covers:General coverage of the coasts of Tonga, Samoa, American Samoa, French Polynesia, Kiribati, and the Cook Islands. Included in this overall general coverage are numerous detailed charts covering areas such as Nuku’alofa, Ton., Apia, Sam., Pago Pago, Am. Sam., Tahiti, and Bora Bora.

Adventures in Counter-Culture $11.98 If you’ve listened to Blueprint’s music or seen him live, then you know it’s always an adventure when this Ohio native enters the studio. Five years in the making, Adventures In Counter-Culture, is Blueprint’s most ambitious album to date. This is not what you expect. This is the album that Blueprint has waited his whole life to make. This is the adventure you’ve been waiting for. Keep bouncing. Performers: Nina D. – Vocals (Background); Ahmed Gallab – Drums; Angelica Lee – Vocals; Blueprint – Vocals; Julian Dassai – Guitar; Rebecca Fredin – Piano; Tyler Wenzel – Guitar

Caring for Words in a Culture of Lies $18 “Like any other life-sustaining resource, says Marilyn Chandler McEntyre, language can be depleted, polluted, contaminated, eroded, and filled with artificial stimulants. Today more than ever, language needs to be rescued and restored. Drawing on a wide range of sources, both critical and literary, Caring for Words in a Culture of Lies is an engaging address to everyone concerned with preserving the vitality and precision of the spoken and written word. / If every literate person in the United States read this book, the result could dramatically transform our society. . . . Written with modesty, keen insight, and grace, Marilyn Chandler McEntyres Caring for Words in a Culture of Lies proposes a revolution of human expression that would bring precision, honesty, and felicity to the spoken and written discourse of contemporary culture. This is a book to read and pass on with the fervent hope that its truth may spread and endure. Emory Elliott / Director of the Center for Ideas and Society / University of California, Riverside / McEntyres prose is lyrical, at times luminous. . . . Her thoughtful analyses of the written word invite all of us to read more deeply, and her discussion of how readers enter a text leads us to examine the architectural structure of our own work. Kathryn Reiss / Mills College author of Time Windows, PaperQuake, and Blackthorn Winter”

Culture Hotel Villa Capodimonte $215.4 Culture Hotel Villa Capodimonte is a business friendly hotel located in Naples, close to Botanical Garden of Naples, Catacombe di San Gennaro, and Cathedral of Naples. Additional points of interest include National Archaeological Museum and Villa Comunale. Hotel Features. Culture Hotel Villa Capodimonte’s restaurant serves breakfast, lunch, and dinner. A bar/lounge is open for drinks. Room service is available 24 hours a day. The hotel serves a complimentary buffet breakfast. This 4.0 star property has a business center and offers a meeting/conference room, secretarial services, and business services. Complimentary wireless Internet access is available in public areas. This Naples property has event space consisting of a conference center and exhibit space. The property has a shopping center shuttle, which is complimentary. Wedding services, concierge services, tour/ticket assistance, and translation services are available. Guest parking is complimentary. Additional property amenities include a library, multilingual staff, and laundry facilities. A total renovation of this property was completed in January 2008. Guestrooms. There are 55 guestrooms at Culture Hotel Villa Capodimonte. Guestrooms have balconies. Bathrooms feature handheld showerheads. They also offer bidets, complimentary toiletries, and hair dryers. Internet access (surcharge) is provided. In addition to desks and in room safes (accommodate laptops), guestrooms offer direct dial phones. LCD televisions are available in guestrooms. Air conditioned rooms also include minibars, blackout drapes/curtains, and clock radios. Guests may request extra towels/bedding and wake up calls. Housekeeping is available daily. Cribs (infant beds) and rollaway beds are available on request. Guestroom renovations were completed in January 2008. Notifications:This property provides transfers from the airport. Guests must contact the property with arrival details before travel, using the contact information on the booking confirmation. All guests staying in hotel guestrooms must be registered with the hotel.

The Sound of Rhythm & Culture $12.78 Rhythm & Culture is a subsidiary imprint to the legendary Washington, DC-based Eighteenth Street Lounge label. It’s an artist-run collective established by ESL co-founder Farid Nouri, and on the evidence provided by this four-artist compilation, it’s dedicated to creating a sound that blends smooth R&B, international rhythms, and dubwise production techniques to create a varied but identifiable flavor all its own. There are times when that flavor is just a little bit too smooth and sweet: the lite basslines, Fender Rhodes piano, Latin percussion, and whispery vocals on Second Sky’s “Under the Line” cross the line from pleasantly smooth to cloyingly smoov, as does the same artist’s funky but ultimately rather saccharine “Too Far.” Same goes for Thomas Blondet’s two-chord Brazilian effort “Samba Soul.” On the other hand, there is some brilliantly dubbed-up funk-reggae from Farid Nouri himself (“Sound Champion”), an excellent rockers collaboration from Blondet and the always-brilliant Subatomic Sound System, and a lovely cameo appearance by singer Sarah Vertino on Nouri’s beautiful “Balearic Express.” You’ll also encounter moments of hip-hop and house, and lots of tracks that shred the boundaries between all of those styles with off-handed ease. Even the weakest moments on this album are easily listenable, and taken as a whole, it makes for a very pleasant, slightly chilled listening experience. ~ Rick Anderson, Rovi Performers: Santimo Mohtadj – Accordion; Adam Schechter – Guitar, Keyboards; Ashish Vyas – Bass; Darryl Burke – Keyboards, Bass; Subatomic Sound System – Melodica, Guitar

Western Culture [Deluxe Edition] $14.38 The group’s fourth and final studio LP, Western Culture remained for a long time Henry Cow’s hidden treasure. Two factors were instrumental to its occultation (and one more than the other): first, it was not released by Virgin like the other ones; second, it did not have the “sock” artwork common to its brothers. East Side Digital reissued it in the 1990s, giving the fans wider access to it, but they had to wait until January 2002 for a definitive CD reissue on ReR Megacorp, complete with extensive liner notes and three bonus tracks. Obscurity aside, Western Culture remains one of the group’s strongest efforts in the lines of composition, especially since the unit was literally torn apart at the time. Side one of the original LP consists of a suite in three parts, “History & Prospects,” written by Tim Hodgkinson. The opener, “Industry,” stands as one of Henry Cow’s finest achievements, the angular melody played on a cheap electric organ hitting you in the face so hard it makes an imprint in your brains. Side two features another suite, this one in four parts and by Lindsay Cooper. While Hodgkinson’s music leans toward rock, energy, and deconstruction, her writing embraced more contemporary classical idioms. Filled with contrasting textures and delicate complicated melodies, these pieces showcased another aspect of the group’s sound while foretelling her later works. Swiss pianist Irène Schweizer performed a cadenza of sorts in “Gretel’s Tale.” The ReR reissue adds “Viva Pa Ubu,” the only vocal track, a rock song closer to the material found on In Praise of Learning, plus an alternate version of “Look Back” and the one-minute “Slice.” ~ François Couture, Rovi Performers: Lindsay Cooper – Sopranino Recorder, Recorder (Soprano), Bassoon, Wind, Recorder, Oboe, Sax (Soprano); Fred Frith – Banjo, Guitar (Electric), Violin, Guitar, Bass, Guitar (Acoustic), Sax (Soprano), Keyboards; Anne Marie Roelofs – Violin, Trombone; Chris Cutler – Electric Drums, Noise, Drums (Electric), Vocals, Drums, Trumpet, Piano; Georgie Born – Bass; Irène Schweizer – Piano; Tim Hodgkinson – Hawaiian Guitar, Vocals, Sax (Alto), Saxophone, Keyboards, Piano, Guitar, Clarinet, Organ

Hold on to Your Culture $19.19 Performers: Black Steel – Vocals, Keyboards, Guitar; Fluxy – Drums; Horace Andy – Vocals; Macka B – Vocals; Mad Professor – Drums; Mafia – Keyboards, Bass; Nolan Irie – Vocals, Bass, Drums; Victor Cross – Keyboards, Bass

CULTURE: MORE CULTURE $18.94 CULTURE: MORE CULTURE

CULTURE TIME: CULTURE TIME $3.3 CULTURE TIME: CULTURE TIME

CULTURE WARRIORS: CULTURE WARRIORS $14.79 CULTURE WARRIORS: CULTURE WARRIORS

Youth Culture and Net Culture $134.4 Youth Culture and Net Culture

CULTURE CLASSICS: CULTURE CLASSICS $5.73 CULTURE CLASSICS: CULTURE CLASSICS

CULTURE: 17 CHAPTERS OF CULTURE $11.07 CULTURE: 17 CHAPTERS OF CULTURE

Vinyl Junkie Culture $37.59 Killer new album from Sweden’s BEATFANATIC. Mixing his synth laden disco flavoured dance tracks with midtempo groovers and some killer cosmic disco tracks that sound like they should be on PERMANENT VACATION or ESKIMO. Performers: Charlie Void – Choir, Chorus; Amalia – Vocals; Amalia Townsend – Vocals; Ingela – Vocals; Mad Midget – Bass; Opolopo – Guitar, Keyboards, Bass; Roman Andrén – Keyboards

Pop Surf Culture $29.83 From the Publisher: From original beachcomber personalities like the Waikiki Beachboys to the rise of Venice Beach as a creative center for music, art, and film, this insightful chronicle traces the roots of the surf boom and explores its connection to th

Major Problems in American Popular Culture, 1st Edition $55.49 Each chapter in MAJOR PROBLEMS IN AMERICAN POPULAR CULTURE comprises essays and documents that focus on a particular aspect of American popular culture. These essays and documents will encourage you to think about the centrality of popular culture in American life and its powerful role in forging identity, historical memory, and relationships among consumers, producers, citizens, and the state. They reinforce the idea that popular culture is the ground on which cultural and social transformations are worked. Race and class are at the center of the analysis, and these categories, along with gender and nationalism, thread through the chapters. They all argue for seeing popular audiences as active creators rather than passive receivers of popular culture.

Over the Counter Culture $10.17 In 1999 The Boston Blackouts officially adopted their new name: The Kings Of Nuthin’ and began playing outside Massachusetts. Since then they have shared stages with the Dropkick Murphys, the Mighty Mighty Bosstones, U.S. Bombs, Demented Are Go and more. This 14 song new release brings punk rock with saxophones to the masses! Performers: Necro – Washboard; Dana Colley – Sax (Bass); Hayden Cummings – Sax (Tenor); John Nachez – Sax (Baritone); Liam Crill – Drums; Thomas Lorioux – Guitar (Bass); Torr Skoog – Vocals; Trafton Waldrop – Guitar; Zack Brines – Piano

Siren Song of the Counter Culture $7.94 Rise Against’s somewhat sudden major label-ness has slightly diluted their direct assault on melodic hardcore, but the adjustment should only invite more sugar punkers to the Chicago combo’s bittersweet party. Rise Against has moved up in the sonic nicety department — loud rock vet GGGarth produces, and the Andy Wallace mix is a flawless cross section of thick, grit, and slick. But Siren Song of the Counter Culture is simply the band’s latest statement, combining their significant yet not unwelcome Bad Religion influence with nods to the rousing choruses of peers like A.F.I. Beyond that grandiose title — that line could’ve been lifted from a Crass treatise, for Pete’s sake — Rise Against seem to have diversified their lyrical base. There are still salvos of sharply defined social criticism — “If we’re the flagship of peace and prosperity/We’re taking on water and about to f*cking sink,” begins the blistering hardcore opener, “State of the Union.” But Rise Against also rock on the personal reflection or relationship tip. “Paper Wings” builds a sad story about growing apart around a winning lead guitar lick straight from their Fat Wreck past, while the staggeringly paced “Blood to Blood” is in the bitter first person. “‘I don’t love you anymore/Is all I remember you telling me.” Sometimes Siren Song gets carried away with its own melodic urgency. The multiple layers of guitars and somewhat obvious mixing tweaks in “Tip the Scales” and “Rumors of My Demise Have Been Greatly Exaggerated” lead Rise Against to lose the thread of hardcore volatility that’s driven them since the beginning. Still, this is their major-label debut, and a band’s gotta eat, so maybe the fuller sound and occasional forays into acoustic guitars and cello overdubs (“Dancing for Rain”) are OK. Rise Against has always been pretty sincere in both its politics and commitment to hardcore revivalism, so if Siren Song nods to accessibility, it’s only to recruit more kids for the raging. ~ Johnny Loftus, Rovi Performers: Nina Hennessey – Vocals

Coffee Culture USA $16.96 Filmmakers Julie and Kenneth van Schooten decided to combine their love for visiting coffee houses and traveling in this both entertaining and educational documentary called CoffeeCulture USA.They traveled around the US and visited unique coffee houses, ranging from a small Alaskan bail bonding and espresso shack run by a reverend, an Italian cafe in New Orleans damaged by Hurricane Katrina, a coffee house operated by teenagers to a full service community center/coffee house in Austin.But also coffee painters, coffee collar makers, a coffee house film director and an exclusive interview with the Grandfather of Gourmet Coffee Alfred Peet.

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