Have you ever wondered; "How can I inherently do good while looking good?" Wear No Evil has the answer; and is the timely handbook for navigating both fashion and ethics. It is the style guide with sustainability built in that weve all been waiting for. As a consumer; you regain your power with every purchase to support the causes and conditions you already advocate in other areas of your life (such as local or organic food); while upholding your sense of self through the stylish pieces you use to create your wardrobe.Featuring the Integrity Index (a simplified way of identifying the ethics behind any piece of fashion) and an easy to use rating system; youll learn to shop anywhere while building your personal style and supporting your values- all without sacrifice. Fashion is the last frontier in the shift towards conscious living. Wear No Evil provides a roadmap founded in research and experience; coupled with real life style and everyday inspiration.Part 1 presents the hard-hitting facts on why the fashion industry and our shopping habits need a reboot.Part 2 moves you into a closet-cleansing exercise to assess your current wardrobe for eco-friendliness and how to shop green.Part 3 showcases eco-fashion makeovers and a directory of natural beauty recommendations for face; body; hair; nails; and makeup.Style and sustainability are not mutually exclusive. They can live in harmony. Its time to restart the conversation around fashion—how it is produced; consumed; and discarded—to fit with the world we live in today. Pretty simple; right? It will be; once youve read this book.Wear No Evil gives new meaning—and the best answers—to an age-old question: “What should I wear today?rdquo;
#3805277 in eBooks 2013-10-17 2013-10-17File Name: B00FZ5RMRO
Review
2 of 2 people found the following review helpful. Wheres the Human?By C. MCLEANI loved the musicology bit; but insight into the creative process is weak. The problem with his approach is that it is hampered by the influence of academic post-modernist `surfaces-only vision. He is sceptical of the most extreme versions of this; which would be that the meaning of a text is only socially constructed among its listeners. Nevertheless; I think he leaves unanswered the question of how they could have written an album that had such long-lasting appeal.Hence the description of their creative process in the studio (Ch.3 - Inception) lacks depth. One approach to this could be to consider the role of bodily-felt meanings - the body as a knowing body. The composer isnt only in a society (audience); but the society (audience) is in their body as felt interactive process. Moore does mention the experiencing body elsewhere. About the mother in Shes Leaving Home; he says; "It is as if the experiencing body is only now beginning to appreciate the crisis.") So hes in the territory - he only has to apply his knowledge of an experiencing body to the actual writers; to strengthen his analysis of the bands creative process.As an academic exercise; and within the constraints already mentioned; I thought he was fairly balanced in his assessment of others views on the sociology. Its a fun read if youre familiar with some musicology and social theory. Its too technical for `popular tastes; but not necessarily too techinical for `pop tastes. To be fair; I doubt he wrote it for the average reader.2 of 3 people found the following review helpful. Moore doesnt have enough room to work with to adequately cover all aspects; but the musicological commentary is fineBy Christopher CulverThe Cambridge Music Handbook series usually focuses on canonical works by classical composers; but alone among popular music recordings it recognized here the greatness of the Beatles 1967 album SGT. PEPPERS LONELY HEARTS CLUB BAND. Allan F. Moore has written an overview of the record that combines the history of the recording sessions; the Beatles place in the 1960s musical marketplace; and an analysis of each of the songs.A major weakness of this volume is that it is only 100 pages long and most of Moores comments are too genera. A lot has been written about SGT. PEPPER and 1960s pop music in general; and anyone wanting to read about these extramusical aspects of SGT. PEPPER can find them discussed in greater detail elsewhere.However; the musicological commentary on each of the songs makes this volume worthwhile. Viewing the songs "Strawberry Fields" and "Penny Lane"; released as a single a few months prior to SGT. PEPPER; as in the same vein as the album; he analyses them as well. To choose just a random passage from the commentary:"In the outer sections (22"-43" and from 1 38"); this extends to a blue third above G; but the melody remains static. In the central section (from 56"); the melody extends to a fourth below G. This also reverses the first sections upward tendency with the downward scale (in the brass); itself giving rise to motif b in the central section (the direct reversal of the first sections melodic profile - again see Ex. 4.1). The first brass interlude approaches a structural G from below without achieving it; a process intensified in thecentral section and again in the vocal version of the interlude; such that the arrival on G at 1 38" feels exhaustively prepared; supporting the stylistic fusion mentioned above. Thus; the song neatly balances the processual and the architectural (the 12-5-12-5-12 bar layout)."If you are looking for such a detailed description of the music on this classic album; then Moores work is where you should turn to. As a listener with an intellectual bent; Moores careful study of the progression of each song has helped me to get more out of SGT. PEPPER.13 of 15 people found the following review helpful. Good; if a little too technical.By A CustomerAt the heart of the matter is the question: Is Sgt Pepper a piece of modern classic music? If one were to look at the other books in the Cambridge Music Handbook series (theyre all on works of classical composers; [and here I do not refer to the "Classical" period; but to the generic category of classical]); the question seems already answered; and all that remains is to see just how Mr. Moore will prove this. This he does achieve; albeit through much technical information (both musical and socio-cultural); rather than through truly moving and eloquent persusasion. Moores analysis of each songs music is fascinating (how the Beatles aurally represent concepts) and his thematic analysis is equally good; even if you dont always agree with him (I mean; is "Within You; Without You" really the pivotal song of the album?) But that aside; his commentary on "A Day in the Life" is excellent. Here even the distanced scholar is moved; he writes (paraphrase here) "...the final chords [of the Sgt Pepper reprise] have not yet died away when the strumming of a lone acoustic guitar begin and the innocent listener is lead into one of the most harrowing songs ever written...". All in all; a good effort and worth the reading of every Beatles fan; student of music or pop culture.