Called "the greatest angling explorer of his generation" ("Independent on Sunday"), Jeremy Wade takes viewers where no wildlife program has gone before. Now Wade goes truly beneath the surface, disclosing full details of how he catches each species and recounting the off-camera highlights of his extraordinary life. From his arrest as a suspected spy in Southeast Asia to a plane crash in the rainforest, every page of the "Wall Street Journal" bestseller "River Monsters" is packed with adventure. From the heart of the Congo to the depths of the Amazon, Wade reels in fish of staggering proportions and terrifying demeanor for an unforgettable read.

A tale of obsession and very big fish from Jeremy Wade, the presenter of ITV's RIVER MONSTERS. Over ten feet long, it weighs in at nearly a quarter of a ton. Covering its back are armoured plates made of bone. Five hundred stiletto-sharp teeth line its long crocodilian jaws. It's a prehistoric beast of staggering proportions; a fearsome creature from the time of the dinosaurs. But the Alligator Gar, an air-breathing survivor from the Cretaceous period is still with us today, patrolling inland rivers, hunting in murky waters shared by human communities. And for Jeremy Wade, described as the 'greatest angling explorer of his generation', the Gar and other outlandish freshwater predators have been an obsession for all his adult life. With names like Arapaima, Snakehead, Goonch, Goliath Tigerfish and Electric Eel, many of them have acquired an almost mythical status. In a quest that has taken him from the Amazon to the Congo, and from North America to the mountains of India, Wade has pursued the truth about these little known, often misunderstood animals. Along the way he's survived a plane crash, malaria and a fish-inflicted blow to the chest that, according to a later scan, caused permanent scarring to his heart. In RIVER MONSTERS, Wade delivers a sometimes jaw-dropping blend of adventure, natural history, legend and detective work. It reads like a hunt for the Loch Ness Monster. But it's all true. These are fisherman's tales like you've never heard before. The stories of the ones that didn't get away ...

Selling Digital Music, Formatting Culture documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the "digital music commodity," Selling Digital Music, Formatting Culture considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies - Winamp, metadata, Napster, iTunes, and cloud computing - this book explores how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CD. Morris connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all, Selling Digital Music, Formatting Culture is a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture and of why the shifting form of the music commodity matters for the music and other media we love.

Selling Digital Music, Formatting Culture documents the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the "digital music commodity," Selling Digital Music, Formatting Culture considers how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies - Winamp, metadata, Napster, iTunes, and cloud computing - this book explores how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CD. Morris connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all, Selling Digital Music, Formatting Culture is a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture and of why the shifting form of the music commodity matters for the music and other media we love.

Approximately 2,000 years ago, some Jewish communities of Galatia in central Asia Minor believed they had fallen under a curse, argues Jeremy Wade Barrier. A fellow Jew named Paul wrote the letter we call Galatians to help them escape its effects. In the letter, Barrier argues, Paul called for the Jews in Galatia to stop practicing circumcision. The rite had fallen into disuse within many Jewish communities in the Roman Empire, but Barrier argues the Galatian Jews believed it was a talisman that would protect them from harm. As a further precaution, they needed to deal with the person who had brought this evil to their community. A witch hunt was underway, and some had concluded that the witch was none other than Paul. Barrier provides a reconstruction of the original occasion of Paul's letter to the Galatians and shows how Paul defended himself from accusations of witchcraft by countering that the ritual that would protect them from the "Evil Eye" was not circumcision, but rather baptism. Through the ritual of baptism, they could receive healing from a material, yet divine, "breath" of God. Barrier also reconstructs an earlier understanding of this pneuma that was lost to subsequent Christianity under the influence of Neoplatonism.