DREAMING OF AN EMPTY INBOX, BUT DON'T KNOW HOW TO MAKE IT HAPPEN? We're bombarded with messages every day, but no one tells you how to improve these vital email skills. In less than 100 pages, this handy book will help you discover how to regain control of your email - and get back to your job - in five simple steps. Email doesn't have to be overwhelming. With Speedmailing's five-step process you can manage emails quickly and efficiently. The benefits of Speedmailing: * Empties your inbox every day * Increases your productivity and peace of mind * Keeps your to-do list in one place * Maintains a system of reminders * Makes sure nothing slips through the gaps * Improves communication * Decreases post-holiday stress * Works on any platform or device CONTROL YOUR EMAIL: DON'T LET EMAIL CONTROL YOU. "Smart people are lazy. So if you want to double your effectiveness and productivity emailing clients, colleagues and friends. Read this book." Eelco Smit, Personal & Business Coach for Entrepreneurs and Bestselling Author of Book for MEN "Simplicity is underestimated. Richard has sharpened the knife of day-to-day email management in the leanest possible way." Nick Bortot, Founder and CEO of FinTech startup BUX "Speedmailing is a concise action plan for mastering email. Richard has distilled thousands of hours of training into an easy to follow guide that will turn your inbox from a burden into a powerful business tool." Marshall Hughes, Inbox Zero Coach at coach.me "Richard gives us a practical approach to email that really works, with useful habits and shortcuts that can drastically change the way we work. If you want to tame the monster that email has become, this book is for you. Forget emailing - the future is Speedmailing!" Shirley Taylor, International bestselling author of Model Business Letters, Emails & Other Business Documents 7th Edition "All my career I have focused on how we can get more leverage from our brain and process information quicker and better. Richard's way of dealing with email blew me away when I realised that I will spend less energy on a per email basis, today and every day from now on. What a return on investment!" Mark Tigchelaar, CEO of UseClark and Specialist in Speed Reading and Productivity "An easy and practical life changer, one of these books of which you think why didn't I read that earlier, it would help me so much" Marine Guignardeau, Learning and Development Manager, L'Oreal Netherlands "Until bots and AI solve the hassle of email, dealing with large quantities of email is a skill that is rarely mastered. This is definitely one of the best books on it and should be mandatory for every knowledgeworker." Martijn Aslander, Speaker, Writer and Boardroom Sparring Partner

Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing. Editors Richard K. Wolf, Stephen Blum, and Christopher Hasty address a productive tension in musical studies between universalistic and culturally relevant approaches to the study of rhythm. Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts. Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm. By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.

In the framework of the colloquia on Machine Processing of Old German Texts held at regular intervals since 1971, the Fifth International Colloquium (March 1997 in Wurzburg) concentrated on the use of the new media, corpus-related issues posed by Old German texts, and lexicographic problems in connection with different historical stages of language development. In addition there was discussion of fundamental organizational questions, encoding designs such as the Text Encoding Initiative, and solutions to individuals problems posed by text data processing. The central papers are assembled in this volume."

For many decades the Railways Department's design studios, Railways Studio, was New Zealand's 'go-to' advertiser. Its tourism and product ads appear on railway-station hoardings and billboards throughout the land, and it developed some of New Zealand's most iconic graphic images. This big, beautiful book brings this treasure trove of design together for the first time.

Edmonds is one of New Zealand’s best-known brands – its radiant sun and ‘Sure to Rise’ promise have embellished baking powder labels and the much-loved Edmonds Cookery Book for over a hundred years and are now embedded in our popular culture. The man behind the company, Thomas Edmonds, came to New Zealand with his wife Jane in 1879. While running a modest grocery store in Christchurch, he expanded into making baking powder. As his most famous product took off, he built new premises, the last of them the Art Deco factory with its nationally admired gardens. Thomas embraced new advertising and marketing techniques and ensured progressive working conditions for his loyal staff. A generous benefactor, he gave his city some of its landmark buildings. This is the story of a man from humble beginnings who, thanks to hard work, creativity and persistence, and with considerable support from his wife, created an iconic business. Richly illustrated, 'Sure to Rise' is a fascinating slice of New Zealand’s social and culinary history.

Thought and Play in Musical Rhythm offers new understandings of musical rhythm through the analysis and comparison of diverse repertoires, performance practices, and theories as formulated and transmitted in speech or writing. Editors Richard K. Wolf, Stephen Blum, and Christopher Hasty address a productive tension in musical studies between universalistic and culturally relevant approaches to the study of rhythm. Reacting to commonplace ideas in (Western) music pedagogy, the essays explore a range of perspectives on rhythm: its status as an "element" of music that can be usefully abstracted from timbre, tone, and harmony; its connotations of regularity (or, by contrast, that rhythm is what we hear against the grain of background regularity); and its special embodiment in percussion parts. Unique among studies of musical rhythm, the collection directs close attention to ways performers and listeners conceptualize aspects of rhythm and questions many received categories for describing rhythm. By drawing the ear and the mind to tensions, distinctions, and aesthetic principles that might otherwise be overlooked, this focus on local concepts enables the listener to dispel assumptions about how music works "in general." Readers may walk away with a few surprises, become more aware of their assumptions, and/or think of new ways to shock their students out of complacency.

A diabolically versatile killer targets talk show hosts for extinction. It's up to two NYPD detectives to stem the rising death toll. The detectives are taunted by the killer with a series of written puzzles.

Ich frage mich, was mit dem kleinen Jungen wird, wenn niemand ihm seine Flugel zeigt. Wenn niemand da ist, um ihm zu zeigen, wie er mit ihnen fliegen kann. Was geschieht mit ihm? Was geschieht mit der ganzen Liebe, die in ihm ist, wenn niemand ihm hilft, gross zu werden? Wenn niemand ihn spuren lasst, dass er fur jemanden etwas bedeutet? Wenn niemand sich freut, dass er auf die Welt gekommen

"Das Madchen sagt sich, er sieht mich, wenn er mich ansieht. Ich kann ihm alles von mir erzahlen, ohne dass er erschreckt. Er weicht nie zuruck. Und er glaubt mir. Und manchmal, nachts, wenn ich vor lauter Angst aufwache und nicht mehr einschlafen kann, gehe ich zu ihm hinuber. Ich lege mich unter die Decke und drucke mich an ihn und hore zu, wie sein Herz schlagt. Sein Herz, das niemals schlafen kann, weil es fur mich wach bleibt, wie er zu mir gesagt hat. Und ich habe ihn nicht gleich verstanden, als er das zu mir sagte. Ich habe gedacht, was redet er da bloss und dass sein Herz schlagt, weil es nicht anders kann. Deswegen habe ich zuerst daruber gelacht. Und plotzlich habe ich ihn verstanden und musste weinen." Jahrelang hat der Schriftsteller Yorck Berliner uber den Missbrauch von Kindern geschrieben. In seinen Buchern, die er Kriegsbucher nannte und in denen er schilderte, wie sehr ein Kind durch jede Art von Missbrauch in seinem Menschsein beschadigt wird, fand er Beschreibungen, die so masslos waren, dass sie uber jede bekannte Vorstellung hinausgingen. Sehr bald schon wussten die Menschen, dass Yorck Berliner aus eigener Erfahrung sprach, dass er als Kind selbst Gewalt und Missbrauch erfahren hatte. Dass er uberlebt hatte. Dann, vor zwei Jahren, von einem zum anderen Tag, verschwand er spurlos. Davor, am 11. September 2001, war Anabelle gestorben, ein funfzehn Jahre altes Madchen, das zuletzt bei ihm lebte. Linda Bamberger, ehemalige Geliebte Yorck Berliners, berichtet von Anabelle, von ihrem Leben auf der Strasse und am Strand von Trouville und danach bei ihm, dem Schriftsteller, von dieser ganz und gar besonderen Beziehung zwischen den beiden. Sie erzahlt von Elisa: von Elisas Kindheit und den Begegnungen mit Yorck Berliner, von dieser Liebe, die so viel mehr ist als Liebe. Sie erzahlt auch von Lisa, die in die Seine ging, weil sie nicht mehr ertragen wollte, was man ihr angetan hatte. Es geht in dem Buch um die Moglichkeiten von Liebe und Freundschaf