When outgoing Lily meets a little girl who is too afraid to talk in school or other places outside of her home, she befriends the silent girl, their friendship grows, and the silent girl feels comfortable enough to talk to her new friend. This beautifully illustrated story book is for children with selective mutism to see that they can make a friend like Lily. It is also a helpful tool for parents, friends and teachers of children with selective mutism to understand why these children are unable to talk in certain settings, and to explore some strategies that may help reduce their anxiety around speaking. Jo studied for a Masters Degree in Speech and Language Sciences and qualified as a Speech and Language Therapist at University College London in 2006. Since then she has worked with children in a range of home, clinic and educational settings and currently combines NHS and independent work.

Written by one of America's preeminent labor historians, this book is the definitive account of one of the most spectacular, captivating, complex and strangely neglected stories in Western history--the emergence of migratory farmworkers and the development of California agriculture.
Street has systematically worked his way through a mountain of archival materials--more than 500 manuscript collections, scattered in 22 states, including Spain and Mexico--to follow the farmworker story from its beginnings on Spanish missions into the second decade of the twentieth century. The result is a comprehensive tour de force. Scene by scene, the epic narrative clarifies and breathes new life into a controversial and instructive saga long surrounded by myth, conjecture, and scholarly neglect.
With its panoramic view spanning 144 years and moving from the US-Mexico border to Oregon, "Beasts of the Field" reveals diverse patterns of life and labor in the fields that varied among different crops, regions, time periods, and racial and ethic groups.
Enormous in scope, packed with surprising twists and turns, and devastating in impact, this compelling, revelatory work of American social history will inform generations to come of the history of California and the nation.

A Facsimile re-print of Cesare Lisei's Cenni Biografici written on Giovanni Bottesini, first printed in the Gazzetta Musicale di Milano in 1886. This also contains the version in english translated by Tito Pagliardini combined in one book.

Una ristampa facsimilie della prima edizione del Metodo Contrabasso di Giovanni Bottesini.

Before the film, César Chavez, Chavez's life was depicted in photographs by his confidant, Jon Lewis. In the winter of 1966, twenty-eight-year-old ex-marine Jon Lewis visited Delano, California, the center of the California grape strike. He thought he might stay awhile, then resume studying photography at San Francisco State University. He stayed for two years, becoming the United Farm Workers Union’s semiofficial photographer and a close confidant of farmworker leader César Chávez. Surviving on a picket’s wage of five dollars a week, Lewis photographed twenty-four hours a day and created an insider’s view of the historic and sometimes violent confrontations, mass marches, fasts, picket lines, and boycotts that forced the table-grape industry to sign the first contracts with a farm workers union. Though some of his images were published contemporaneously, most remained unseen. Historian and photographer Richard Steven Street rescues Lewis from obscurity, allowing us for the first time to see a pivotal moment in civil rights history through the lens of a passionate photographer. A masterpiece of social documentary, this work is at once the biography of a photographer, an exposé of poverty and injustice, and a celebration of the human spirit.

As exploited and colonized people, California farmworkers have attracted such massive, overwhelming photographic scrutiny that today their story cannot be told, studied, or understood without engaging the photographic dimension. Although the work of Dorothea Lange and other photographers from the 1930s often comes to mind, virtually every photographer of consequence at some time, for some reason, photographed in the fields of the Golden State. This includes such unlikely twentieth-century artists as fashion photographer Richard Avedon and commercial photographer Max Yavno, along with the nineteenth-century masters Carleton E. Watkins and Eadweard Muybridge. Their work, however, does not unfold along neat, predictable lines. While it has both obscured the place of field hands in modern agriculture and made a case against the farm labor system as an instrument of poverty and oppression, the best of these photographs goes far beyond advertising and exposé, cutting through layers of ignorance and indifference and raising difficult moral questions that force us to reflect on the extent to which, as a society, we require the subservience of an entire class of people. This volume presents 282 of these important photographs.

American photographers have been fascinated by the lives of California farmworkers since the time of the daguerreotype. From the earliest Gold Rush-era images and the documentary photographs taken during the Great Depression to digital images today, photographers and farmworkers in California have had a complicated and continuously changing bond. In Everyone Had Cameras, Richard Steven Street provides a comprehensive history of the significant presence of California farmworkers in the visual culture of America. Street's account spans 150 years and sheds a new perspective on some of America's photographic masters, such as Carleton E. Watkins, Ansel Adams, and Dorothea Lange, and brings to light heretofore unknown and unheralded work by perceptive amateurs, socially committed journeymen, digital documentarians, commercial propagandists, and left-wing critics. Through their artistry, these figures powerfully revealed-and at times obscured-the human cost of industrial agriculture and cheap food. Photographers are deeply embedded in the farmworker story, Street shows, and it cannot be understood without paying attention to their ever-evolving vision. Indeed, cameras are so prevalent on picket lines and at strikes and demonstrations that it is normal to see not only photojournalists but also police, protesters, and growers awaiting a decisive-or incriminating-moment to capture. Deftly weaving the remarkable diversity of field photography into this story of labor activism, Everyone Had Cameras establishes a new history of California photography while chronicling the impact that this visual medium-called by some the common currency of modern dialogue-has had on a vast, dispossessed class of American workers.