A gorgeous, inimitable singer and songwriter, Nina Simone (1933-2003) changed the face of both music and race relations in America. She struck a chord with bluesy jazz ballads like "Put a Little Sugar in My Bowl" and powerful protest songs such as "Mississippi Goddam" and "To Be Young, Gifted, and Black," the anthem of the American Civil Rights movement. Coinciding with the re-release of her famous Philips Recordings, here are the reflections of the "High Priestess of Soul" on her own life.

Of all the major singers of the late 20th century, Nina Simone was one of the hardest to label. She recorded extensively in soul, jazz, and pop and was also comfortable with blues, gospel, and Broadway. She has subsequently been labelled as a 'soul' singer in terms of emotion, rather than form. Her repertoire included jazz standards, gospel and spirituals, classical music, folk songs of diverse origin, blues, pop, songs from musicals and opera, African chants as well as her own compositions. Nina Simone Piano Songbook Volume 1 contains authentic piano and vocal transcriptions of 15 of her best-known songs, including Feeling Good, I Put a Spell On You, Sinnerman and My Baby Just Cares For Me, with guitar chord boxes.

Of all the major singers of the late 20th century, Nina Simone was one of the hardest to label. She recorded extensively in the soul, jazz, and pop and was also comfortable with blues, gospel, and Broadway. She has subsequently been labelled as a 'soul' singer in terms of emotion, rather than form. Her repertoire included jazz standards, gospel and spirituals, classical music, folk songs of diverse origin, blues, pop, songs from musicals andopera, African chants, as well as her own compositions. Nina Simone: Piano Songbook Volume 2 includes a variety of her classic songs including I Get Along Without You Very Well and Strange Fruit, authentically transcribed for piano, voice and guitar.

This outstanding release features Nina Simones complete New York, 1957 trio session with Jimmy Bond on bass, Albert 'Tootie' Heath on drums and Simone accompanying herself on piano. This edition marks the first time that all fifteen of these tracks (including the extended alternate take of My Baby Just Cares For Me) are available on one CD. Of the 82 studio sessions and live performances that make up Simones discography, this date marks her very first recording. To say that her studio debut was a success would be a terrible understatement. At 25-years old, Simones performance boasted all the passion and ebullience of youth, and all the skill and grace of a seasoned veteran. There are many who consider this session Simones finest recording. Includes the bonus track 'My Baby Just Cares For Me' (Alternate Take). Gambit. 2006.

A Letter to My Daughter is a short book of individual letters to my dearest daughter. I leave her with advise on Positive Thinking, How to Tap into your Inner Power, The Importance of Unplugging, Love, Inner Beauty etc.

Der Anspruch, Theorie und Praxis mit Blick auf rassismuskritische Fachdidaktiken zu verzahnen, ist fur die Konzeption dieses Bandes handlungsleitend. Die Beitrage bestehen aus jeweils zwei Teilen: Im ersten Teil wird die Rassismusrelevanz eines bestimmten Sachverhalts des jeweiligen Unterrichtsfaches dargestellt, im zweiten Teil wird die rassismuskritische Vermittlung in Form von allgemeinen Erlauterungen zur fachdidaktischen Transformation des Unterrichtsgegenstandes thematisiert.

A fun, fresh, and twisty debut whodunnit about a grandmother-mother-daughter trio who come together as amateur sleuths to solve a murder in their coastal California town. “A lively and tender story of family that Simon deftly transforms into an edge-of-your-seat murder mystery... One part The Maid and one part family drama à la The Nest, Mother-Daughter Murder Night is a resounding and impressive triumph.�—Katy Hays, New York Times bestselling author of The Cloisters Nothing brings a family together like a murder next door. High-powered businesswoman Lana Rubicon has a lot to be proud of: her keen intelligence, impeccable taste, and the L.A. real estate empire she’s built. But when she finds herself trapped 300 miles north of the city, convalescing in a sleepy coastal town with her adult daughter Beth and teenage granddaughter Jack, Lana is stuck counting otters instead of square footage—and hoping that boredom won’t kill her before the cancer does.  Then Jack—tiny in stature but fiercely independent—happens upon a dead body while kayaking near their bungalow. Jack quickly becomes a suspect in the homicide investigation, and the Rubicon women are thrown into chaos. Beth thinks Lana should focus on recovery, but Lana has a better idea. She’ll pull on her wig, find the true murderer, protect her family, and prove she still has power. With Jack and Beth’s help, Lana uncovers a web of lies, family vendettas, and land disputes lurking beneath the surface of a community populated by folksy conservationists and wealthy ranchers. But as their amateur snooping advances into ever-more dangerous territory, the headstrong Rubicon women must learn to do the one thing they’ve always resisted: depend on each other.

Visitor participation is a hot topic in the contemporary world of museums, art galleries, science centers, libraries and cultural organizations. How can your institution do it and do it well? The Participatory Museum is a practical guide to working with community members and visitors to make cultural institutions more dynamic, relevant, essential places. Museum consultant and exhibit designer Nina Simon weaves together innovative design techniques and case studies to make a powerful case for participatory practice. "Nina Simon's new book is essential for museum directors interested in experimenting with audience participation on the one hand and cautious about upending the tradition museum model on the other. In concentrating on the practical, this book makes implementation possible in most museums. More importantly, in describing the philosophy and rationale behind participatory activity, it makes clear that action does not always require new technology or machinery. Museums need to change, are changing, and will change further in the future. This book is a helpful and thoughtful road map for speeding such transformation." -Elaine Heumann Gurian, international museum consultant and author of Civilizing the Museum "This book is an extraordinary resource. Nina has assembled the collective wisdom of the field, and has given it her own brilliant spin. She shows us all how to walk the talk. Her book will make you want to go right out and start experimenting with participatory projects." -Kathleen McLean, participatory museum designer and author of Planning for People in Museum Exhibitions "I predict that in the future this book will be a classic work of museology." --Elizabeth Merritt, founding director of the Center for the Future of Museums