When Army psychiatrist Nidal Hasan walked into the Fort Hood Soldier Readiness Processing Center and opened fire on soldiers within, he perpetrated the worst mass shooting on a United States military base in our country’s history. Death on Base is an in-depth look at the events surrounding the tragic mass murder that took place on November 5, 2009, and an investigation into the causes and influences that factored into the attack. The story begins with Hasan's early life in Virginia, continues with his time at Fort Hood, Texas, covers the events of the shooting, and concludes with his trial. The authors analyze Hasan's connections to radical Muslim cleric Anwar al-Awlaki and Al Qaeda in the Arabian Peninsula (AQAP) and demonstrate how radical Islam fueled Hasan’s hatred of both the American military and the soldiers he treated. Hasan's mass shooting is compared with others, such as George Hennard's shooting rampage at Luby's in Killeen in 1991, Charles Whitman at the University of Texas, and Virginia Tech shooter Seung-Hui Cho. The authors explore the strange paradox that the shooting at Fort Hood was classified as workplace violence rather than a terrorist act. This classification has major implications for the victims of the …

From book jacket: "Submissiveness is not my role, but certain platitudes on certain occasions are among the innocent deceits of the sex." A strong character with a fervent belief in woman's changing place, Lucy Holcombe Pickens (1832-1899) was not content to live the life of a typical nineteenth-century Southern belle. Wife of Francis Wilkinson Pickens, the secessionist governor of South Carolina on the eve of the Civil War, Lucy was determined to make her mark in the world. She married "the right man," feeling that "a woman with wealth or prestige garnered from her husband's position could attain great power." She urged Pickens to accept a diplomatic mission to the court of Tsar Alexander II of Russia, and in St. Petersburg Lucy captivated the Tsar and his retinue with her beauty and charm. Upon returning to the states, she became First Lady of South Carolina just in time to encourage a Confederate unit named in her honor (The Holcombe Legion) off to war. She was the only woman to have her image engraved on Confederacy paper currency, the uncrowned "Queen of the Confederacy."

Grammy Award–winning pianist, bandleader, and composer Cedar Walton (1934–2013) is a major figure in jazz, associated with a variety of styles from bebop to funk and famous for composing several standards. Born and raised in Dallas, Walton studied music in Denver, where he jammed with musicians such as Charlie Parker and John Coltrane. In 1955, Walton moved to New York, immediately gaining recognition from notable musicians and nightclub proprietors. When Walton returned to the U.S. after serving abroad in the Army, he joined Benny Golson and Art Farmer’s Jazztet. Later, he became both pianist and arranger for Art Blakey’s Jazz Messengers. Next, he worked as part of Prestige Records’s house rhythm section, recording with numerous greats and releasing his own albums. One hallmark of Walton’s impact is his numerous long-term collaborations with giants such as trombonist Curtis Fuller and drummer Billy Higgins. By the end of his career, Walton’s discography, as both band member and bandleader, included many dozens of vaunted recordings with some of the most notable jazz musicians of the 1960s through the first decade of the twenty-first century. Ben Markley conducted more than seventy-five interviews with friends and family members, musicians who played with or were otherwise …

From book jacket: “Mr. Guitar” Chet Atkins called Lenny Breau (1941-1984) “the greatest guitarist who ever walked the face of the earth.” Breau began playing the instrument at age seven, and went on to master many styles, especially jazz. Between 1968 and 1983 he made a series of recordings that are among the most influential guitar albums of the century. Breau’s astonishing virtuosity influenced countless performers, but unfortunately it came at the expense of his personal relationships. Despite Breau’s fascinating life story and his musical importance, no full-length biography has been published until now. Forbes-Roberts has interviewed more than 175 people and closely analyzed Breau’s recordings to reveal an enormously gifted man and the inner workings of his music. “Lenny Breau was, and will always be, a great treasure. We need him today more than ever.” —Mundell Lowe

This thesis examines the role of globalization, an open economy and diasporic experiences on the 1990s popular Indian culture, focusing on discourses of gender, national identity and family. Recent Indian beauty queens and international beauty contests are discussed in the context of gendered nationhood in 1990s India. Several popular films of the 1990s are discussed as narratives expressing longing for an extended family and a homogeneous national identity under the leadership of a traditional father figure. In contrast, independent films interrogate the primacy of ethnic and national identity and raise interesting questions about exilic experience. All of these forms of national and popular culture reflect the conflicting and ever-changing anxieties surrounding national identity and the role of women in India.

Christopher Rouse (b. 1949), winner of the Pulitzer Prize for his Trombone Concerto (1993) and a Grammy award for his Concerto de Gaudi (1999), has come to the forefront as one of America's most prominent orchestral composers. Several of Rouse's works feature quotations of and strong allusions to other composers' works that are used both rhetorically and structurally. These borrowings range from a variety of different genres and styles of works, from Claudio Monteverdi's L'incoronazione di Poppea to Jay Ferguson's "Thunder Island." Due to the more accessible filtering and funneling methods of musical borrowings (proliferation of mass media), the weighty discourses attached to them, and their variety of functions (critiquing canons, engaging in an allusive tradition, etc.), quotation has become elevated to the most prominent of musical actors that trigger narrative listening strategies, which in turn have a stronger role in the formation of narratives about music as well as narratives of music. The primary aim of this study is to adapt and apply more recent methodological narrativity frameworks to selected instrumental compositions by Rouse containing quotations, suggesting that their manner of insertion, their method of disclosure, and their referential potential can benefit from being examined through various narrative lenses …