America's #1 guide to acing the GED just got better Fully updated to reflect the latest exam guidelines, McGraw-Hill's GED has established itself as the bestselling GED study guide by giving the hundreds of thousands of people who each year take the high school equivalency exam everything they need to ace the test. It features precisely targeted assessments, easy-to-follow instructions, extensive practice, and simulated GED tests for all five subject areas covered in the exam--Language Arts, Writing; Social Studies; Science; Language Arts, Reading; and Mathematics. Enhanced with interactive capability, McGraw-Hill's GED with CD-ROM now combines the strengths of the market-leading book with the versatility of the CD-ROM: Coverage of the latest additions to the test, including sections on the GED essay, critical thinking skills, and graphs and Illustrations Priceless test-taking tips from a veteran GED test prep expert Guidelines for using the Casio fx-260 solar calculator for the mathematics sections A total of four full-length practice tests--two in the book and two additional ones on the CD-ROM Automatic marking and score analysis on the CD-ROM, including an additional diagnostic test that targets strengths and weaknesses
The authors present the complete guide to ANSI standard C language programming. Written by the developers of C, this new version helps readers keep up with the finalized ANSI standard for C while showing how to take advantage of C's rich set of operators, economy of expression, improved control flow, and data structures. The 2/E has been completely rewritten with additional examples and problem sets to clarify the implementation of difficult language constructs. For years, C programmers have let K&R guide them to building well-structured and efficient programs. Now this same help is available to those working with ANSI compilers. Includes detailed coverage of the C language plus the official C language reference manual for at-a-glance help with syntax notation, declarations, ANSI changes, scope rules, and the list goes on and on.
Are you a fool for mnemonics? If so, you'll fall head over nubucks for Mignon Fogarty--a.k.a. the Grammar Girl--and her handy new audio guide to writing and speaking well. It's chock-full of smart little anecdotes and memory tricks for felling the most common grammatical foes (who can ever remember the difference between "nauseous" and "nauseated" anyway?) and at just an hour long it's the perfect turn-to resource for students and professionals alike. I didn't try too hard to stump Grammar Girl in our Q&A, but with her eagle eyes she spotted my grammatical (typographical?) misstep without missing a beat! --Anne Bartholomew Questions for the Grammar Girl Amazon.com: Now that we communicate so often via e-mail and text messaging, do you think that people have become more desensitized to poor grammar, or in your experience is awareness more heightened as a result? Grammar Girl: The average person seems to have become more desensitized to poor grammar, but language lovers seem to be tormented by the flood of mutilated e-mail and text messages—at least a lot of the people I hear from seem to be tormented. It might be a self-selecting group. To use one of my father's favorite phrases, language lovers seem to feel as though they are "being pecked to death by a duck." Amazon.com: Your weekly podcast helps millions of listeners use good grammar and write more effectively. Do you think there is more value in learning by listening, as compared to reading and practical exercise? Grammar Girl: Perhaps it's ironic, but I have a hard time learning by just listening. I need to read things, which is one of the reasons why I provide full transcripts for all my audio podcasts on the Grammar Girl Web site. People learn in different ways, so those who want to listen can listen, and those who want to read can read. In my experience, nothing beats practical exercise. I often have to look up grammar rules over and over again because I can't remember them, but once I've written a show about a rule, I always remember it. Amazon.com: Have the grammar mnemonics you've developed come easily to you? Which ones were the toughest to capture in an easy-to-remember tip? Grammar Girl: Some mnemonics come easily and some don't. I had a hard time coming up with a way for people to remember the difference between "its" and "it's," and I ended up using a really complicated story about a dream I had involving the eBay "it" advertising campaign. I think the best mnemonics are the simple ones. Remembering that you should say "different from" instead of "different than" because "different" has two f's and "from" starts with an f isn't awfully creative, but it's easy to remember. Amazon.com: Is there a grammar rule that even Grammar Girl finds it hard to remember? Grammar Girl: There are so many that it's hard to pick just one! I have a notoriously terrible memory, which is why I'm always making up mnemonics. Often I find that when I can't remember something it's because it is a style issue instead of a hard-and-fast rule, so different people do it differently and there is no "right" answer. For example, I always have to look up the rules about whether the verb should be singular or plural after collective nouns like "team" and phrases like "the couple" and "one of the people who." But when I look up the rule for collective nouns, I am reminded that the "rule" is that you have to just decide whether your collective noun has a sense of being a group or a sense of being many individuals. (And then there are also differences between British and American English.) It's even worse with a phrase like "one of the people who": experts are split over whether the verb should be singular or plural. There really isn't an answer; you just have to pick a side. I have a hard time making a mnemonic for something like that! Amazon.com: It used to be that proper grammar and thoughtful wording were the defining factors of a good piece of writing. Increasingly, however, writing is prized for the speed with which it is produced and not necessarily the craft. How can conscientious writers find the happy medium between form and efficiency? Grammar Girl: What, didn't I answer your questions fast enough?But seriously, I don't think I've come in contact with the people who value speed. As a Web editor, I certainly wasn't happy when people turned in bad writing, even if they turned it in early. And when I was writing magazine articles or corporate materials for a living I never felt rushed (except when I waited too long to get started). The places where I do feel a sense of urgency are in e-mail and messaging; people seem to expect immediate responses. But writing a high-quality message doesn't take much more time than writing a careless message; it just takes more focus.Amazon.com: Bonus question: I wrote all these questions with no more than a cursory grammar and spelling check. How did I do? Grammar Girl: I found only one major error, and I changed the text to bold. It looked like a typo rather than an error in your understanding of the rules. Good job!
Learning a complex new language is no easy task especially when it s an object-oriented computer programming language like Java. You might think the problem is your brain. It seems to have a mind of its own, a mind that doesn't always want to take in the dry, technical stuff you're forced to study. The fact is your brain craves novelty. It's constantly searching, scanning, waiting for something unusual to happen. After all, that's the way it was built to help you stay alive. It takes all the routine, ordinary, dull stuff and filters it to the background so it won't interfere with your brain's real work--recording things that matter. How does your brain know what matters? It's like the creators of the Head First approach say, suppose you're out for a hike and a tiger jumps in front of you, what happens in your brain? Neurons fire. Emotions crank up. Chemicals surge. That's how your brain knows. And that's how your brain will learn Java. Head First Java combines puzzles, strong visuals, mysteries, and soul-searching interviews with famous Java objects to engage you in many different ways. It's fast, it's fun, and it's effective. And, despite its playful appearance, Head First Java is serious stuff: a complete introduction to object-oriented programming and Java. You'll learn everything from the fundamentals to advanced topics, including threads, network sockets, and distributed programming with RMI. And the new. second edition focuses on Java 5.0, the latest version of the Java language and development platform. Because Java 5.0 is a major update to the platform, with deep, code-level changes, even more careful study and implementation is required. So learning the Head First way is more important than ever. If you've read a Head First book, you know what to expect--a visually rich format designed for the way your brain works. If you haven't, you're in for a treat. You'll see why people say it's unlike any other Java book you've ever read. By exploiting how your brain works, Head First Java compresses the time it takes to learn and retain--complex information. Its unique approach not only shows you what you need to know about Java syntax, it teaches you to think like a Java programmer. If you want to be bored, buy some other book. But if you want to understand Java, this book's for you.
QuickBooks "X" For Dummies is a big help for small businessesMost businesses can't afford a Big Four accounting firm to handle their books. That's why so many small-to-mid-size businesspeople turn to QuickBooks to help them keep track of their finances. Bestselling author Stephen Nelson returns with updated coverage of the latest revisions and enhancements to the leading small business accounting software package. After a quick review of bookkeeping basics, you'll discover how QuickBooks can help you build the perfect budget, process payroll, simplify your tax return prep work, create invoices, manage inventory, generate income statements, balance accounts, and much more.You'll learn what you should do before you install and set up QuickBooks, then move onto basic bookkeeping concepts and the fundamentals of building a solid budget. You'll also discover how to enter data, create invoices, and record and print sales receipts; keep track of your inventory, payroll, and budgets; monitor your job costs; and generate the most common financial reports with ease.Veteran author Stephen Nelson updates his perennial bestseller and offers you easy-to-understand coverage of the newest release of QuickBooksEnables you to take control of managing your own business accounting and financial management tasks so you can avoid having to hire expensive outside helpProvides expert advice for getting started with QuickBooks, building the perfect budget, processing payroll, creating invoices, managing inventory, tracking job costs, generating income statements, balancing accounts, creating financial reports, and moreQuickBooks "X" For Dummies helps you handle your financial management tasks more effectively so that you can get down to business!
To thrive in the ever-changing world of health care, you need a respected, trusted, and cutting-edge, cyclopedic resource. In hand, online, or on a mobile device, turn to Taber's Cyclopedic Medical Dictionary, 21st Edition, anytime, anywhere! Taber's 21 is today's most comprehensive health science dictionary. Under the editorial direction of Donald Venes, MD, MSJ, a team of expert consulting editors and consultants, representing every branch of health care, worked with the Taber's in-house editorial staff to ensure that the content reflects the state of the art.
Cyclopedic entries that offer more than just definitions. More than 60,000 reader-friendly definitions, including 3,000 brand-new terms and 7,000 revised terms. Over 1,000 full-color illustrations in the book and DVD combined. More than 600 Patient Care Statements. Caution Statements with new, easy-to-find icon. Dozens of Allied Health and Nursing Appendices.
Finalist for the 2011 Pulitzer Prize in General Nonfiction: “Nicholas Carr has written a Silent Spring for the literary mind.”—Michael Agger, Slate“Is Google making us stupid?” When Nicholas Carr posed that question, in a celebrated Atlantic Monthly cover story, he tapped into a well of anxiety about how the Internet is changing us. He also crystallized one of the most important debates of our time: As we enjoy the Net’s bounties, are we sacrificing our ability to read and think deeply? Now, Carr expands his argument into the most compelling exploration of the Internet’s intellectual and cultural consequences yet published. As he describes how human thought has been shaped through the centuries by “tools of the mind”—from the alphabet to maps, to the printing press, the clock, and the computer—Carr interweaves a fascinating account of recent discoveries in neuroscience by such pioneers as Michael Merzenich and Eric Kandel. Our brains, the historical and scientific evidence reveals, change in response to our experiences. The technologies we use to find, store, and share information can literally reroute our neural pathways. Building on the insights of thinkers from Plato to McLuhan, Carr makes a convincing case that every information technology carries an intellectual ethic—a set of assumptions about the nature of knowledge and intelligence. He explains how the printed book served to focus our attention, promoting deep and creative thought. In stark contrast, the Internet encourages the rapid, distracted sampling of small bits of information from many sources. Its ethic is that of the industrialist, an ethic of speed and efficiency, of optimized production and consumption—and now the Net is remaking us in its own image. We are becoming ever more adept at scanning and skimming, but what we are losing is our capacity for concentration, contemplation, and reflection. Part intellectual history, part popular science, and part cultural criticism, The Shallows sparkles with memorable vignettes—Friedrich Nietzsche wrestling with a typewriter, Sigmund Freud dissecting the brains of sea creatures, Nathaniel Hawthorne contemplating the thunderous approach of a steam locomotive—even as it plumbs profound questions about the state of our modern psyche. This is a book that will forever alter the way we think about media and our minds.
Amazon Exclusive: A Letter from Mike Senior on Mixing Secrets for the Small Studio, "The 'Why The Hell' Challenge" Whenever I read anything about mixing, my first question is this: why the hell should I believe what this person's saying? It would therefore be daft of me to expect any better treatment. So why should you believe me when I say that you can create commercial-grade mixes in a typical small home/college studio? My first answer to this question is that you can judge for yourself, with your own ears, because dozens of my mixes for Sound On Sound magazine's popular "Mix Rescue" column are available free online--there's a taster of some of them on this very page, and lots more available on my own webpage. In all these cases I've started with real-world small-studio recordings and used widely available mass-market technology to remix it to a commercial level, all without ever setting foot inside a "real" studio. Go on, take a listen. If you want that kind of transformation for your music, then you can find a detailed explanation of my method in Mixing Secrets for the Small Studio. The second reason you might want to take notice of these mixing techniques, though, is that they've been drawn not only from my own professional experience, but also from more than four million words of first-hand interviews with the highest-profile engineers and producers on the planet. Whatever you think of my personal advice, it's a bit trickier to dismiss the opinions of 100 of the studio industry's biggest names. But at the end of the day it's your call: does Mixing Secrets for the Small Studio pass your own "why the hell" test? You might just find that it's the only mixing book on the market that actually does . . . --Mike Senior Amazon Exclusive: Top Ten Small-Studio Myths--Busted Amongst many other things in Mixing Secrets for the Small Studio, I try to deliver a stout kicking to the following questionable (but surprisingly pervasive) pieces of received wisdom: You need high-end gear to create commercial-grade mixes. While great gear makes mixing quicker and easier, it's not a deal-breaker. To demonstrate this, I deliberately do all my "Mix Rescue" remixes for Sound On Sound magazine on budget gear in small home/college studios. In some cases, I've even restricted myself to the DAW's built-in plug-ins too--as Greg Kurstin did when mixing Lily Allen's hit record The Fear. If you won’t take my word for it, though, here's top producer Frank Filipetti: "Your ears, your mind, your musical abilities are what it’s all about. Put a George Massenburg, a Hugh Padgham, a Kevin Killen together with any kind of gear, and you’ll get a great-sounding record.” Tony Visconti is one of many others who back him up: “I’ve heard people make very bad records on expensive gear. The gear does not dictate the quality. It’s how you use it.” So I’m afraid that if your mix sucks, your mixing technique sucks. No two ways about it. Use the speakers with the flattest frequency response. This isn't actually the most important thing when working under budget constraints, because your ear can adapt to a speaker's frequency balance quite readily. When you've not got much money to buy monitors for mixing, a flat frequency response is much less critical than good time-domain response. Indeed, the two most celebrated mixing speakers of all time, the Yamaha NS10 and the Auratone 5C Super Sound Cube, both have extremely uneven frequency-response plots, but excellent time-domain performance. Trust your ears. They may be all you've got to hear with, but if you're going to achieve pro-standard mixes then you should trust your ears about as far as you can stretch them! They will lie to you at every opportunity if you give them half a chance, and you need to stay vigilant to avoid being caught out. Ever had that "morning after" horror of realizing that last night’s great-sounding mix actually sounds like a wasp in a tin? Or have you ever carefully adjusted a mix effect for five minutes before realizing the stupid thing isn't actually plugged in? Those common experiences are just the tip of the iceberg, and it's only by learning to work around the fickleness of your own hearing that you can begin to get decent mix results reliably. Timing/tuning-correction kills the music! Corrective processing can certainly produce unmusical results, but it's important to realize that it doesn't have to, even if you're just using the editing facilities built into your software DAW. Furthermore, almost every small-studio production I've worked on sounded more musical (and became a lot easier to mix) once careful timing and tuning correction had been applied. And I've yet to have a single client complain about it either! Start your mix with the drums. That might work with some mixes, but it's often not the best decision. For example, in a lot of styles you actually want to give the lead vocals the biggest "wow" factor, sonically speaking. In that case, it's much better to start with those while your ears are fresh, and while you've still got lots of mix real estate and computer CPU power to play with. Try to make every instrument sound its best. This can be a recipe for disaster at mixdown. The moment you put two instruments together, each will inevitably compromise the quality of the other, and mixing is not just about deciding which instruments need to sound best--it's also about deciding which can afford to sound less good. You may need to make some parts of your mix sound worse in order to make your all-important lead vocal sound better, for instance. As producer John Leckie puts it: "You can’t have spectacular everything--then you wonder why the mix doesn’t sound any good, because everything’s crowding everything else. When you solo the instruments, everything sounds good, but when it’s all put together it’s a jumbled-up mess, so something’s got to give way.” Reverb has to sound natural. Wrong. Although realistic-sounding room simulation has its place in many mixes, there's a whole lot more to using reverb effects than that. Even the dodgiest-sounding reverb unit can prove extremely handy when enhancing an instrument's tone/decay characteristics, or stereo image. In fact, a lot of the established classic reverb units sound pretty unnatural (the AMS RMX16, say, or the EMT 140 plate), but that doesn't stop them from appearing all over the current charts. Perhaps it just needs professional mastering? (If only I had the Celestial Systems Mix Perfectizer plug-in!) I call this the "silver bullet" myth--that comforting delusion that the only thing separating your mix from the ones you hear on the radio is some single esoteric process. Well, here's some news: I've heard thousands of real small-studio mixes, as well as remixing dozens of them for "Mix Rescue," and whenever I hear someone utter the silver bullet myth, it’s never, ever a single "magic ingredient" that their mix actually needs! The malaise can almost always be traced to a whole selection of minor misjudgments that have been made at various points in the arrangement, editing, and mixing process. In other words, if you improve your basic mixing technique, the "fairy dust" will look after itself. But you just can't do that! In mixing the end justifies the means. Whatever you're given to work from, the bottom line is that you're expected to turn it into something that sounds like a finished record. It doesn't matter if you have to replace the drums with samples, stuff synth pads between the guitar layers, add new backing vocals, or remove certain instruments entirely--just as long as your final product sounds great enough to make the client a happy bunny. Professionals don't make mistakes. Rubbish. Professionals make mistakes like everyone else, but they turn them to their advantage. “You’re going to make mistakes,” says Humberto Gatica. “The important thing is to learn from them.” Mixing in particular is one long experiment, in which mistakes play a vital role by identifying any mixing tactics that are unsuitable for the job at hand. For this reason professional engineers at the highest level will cheerfully scrap a mix completely and redo it. “I will often restart mixes three or four times,” reveals Fabian Marasciullo. “Put everything back to zero and try again, re-blend and EQ everything.” Justin Niebank doesn't think twice about heading back to the drawing board either: "I’m not afraid to pull all the faders back down again if it doesn’t work. That’s too great a hurdle for many engineers: but if necessary, don’t get precious, and start over."
Today, serious Web pages use HTML and XHTML to structure their content and CSS for style and presentation. You need a book that understands how to incorporate everything correctly. Head First HTML with CSS & XHTML explains the fundamentals of HTML, XHTML, topics like web color, and CSS properties. In this book, pictures and step-by-step instructions explain how to build great-looking, standards-compliant web sites. The Road to Programming is Sometimes Paved with Web Pages By Elisabeth Robson I am often asked how I first got started in programming. Recently, I was interviewed by Girls Gone Geek, a weekly podcast on technology from a women's perspective, and they asked if I got started by creating web sites. The Girls clearly have no idea how old I am! (Shhh...) I actually started programming long before the Web was a twinkle in Tim Berners-Lee's eye, but their question got me thinking, and I realized that creating a web site is a good way to get started on your way to programming. Now, you might be thinking, "Writing HTML and CSS is not the same thing as programming", and that's technically true. But once you've put together a basic web page, you'll have learned a lot about how the web works under the covers, and you'll be able to tackle some simple programming concepts. The next logical step is to learn a bit of JavaScript, so you can create some cool effects on your web page. Before you know it, you'll be learning Ajax, and then a server side programming language like PHP or Java, and then you'll need a database, so you'll learn some SQL... and ta da! You're a web programmer. I work with several people who have taken an interesting path to programming. One friend has an advanced degree in music and is now a business data analysis expert; another started out wanting to be a farmer, became a web application programmer, and is now a serious Java programmer. For those of you who have no interest in the mechanics of web pages, there are lots of programs out there, like Adobe Dreamweaver and Microsoft Expression, that will help you create a web page without having to know how HTML and CSS really work. But if you want to know what's happening under the covers so you can learn about how web pages really work, and eventually write some JavaScript and do more advanced programming, I definitely recommend writing your own HTML and CSS from scratch. You can use a simple editor like TextEdit (on the Mac) or TextPad (on Windows). No need for anything fancy. Another advantage to writing HTML and CSS yourself is that you can always write your web pages using the most current standards. When we wrote Head First HTML with CSS & XHTML, HTML 4.01, CSS 2, and XHTML 1.0 were the most current and best supported versions of these technologies, and in fact they still are. But standards development is inching along and before too long, HTML 5, CSS 3 and XHTML 2.0 will be launched and supported by browsers. If you stay up to date with these standards, you're likely to be writing far better code than programs like Dreamweaver or Expression do. Once the new standards for HTML, CSS and XHTML are nailed down a bit more, we'll update Head First HTML with CSS & XHTML to include some of the cool new features. HTML 5 will be more strict than HTML 4 was, but it's designed to be backwards compatible with older browsers, so you will be able to convert your HTML 4 pages to HTML 5 web pages without worrying too much about breaking them in older browsers. (However, always keep in mind that there is no substitute for lots of testing!) In the meantime, you can write HTML 4.01, CSS 2 and XHTML 1 knowing that these standards will be the most current and the best supported for quite a while. When the new standards are released and supported by browsers, we'll help you sort through it all so you can focus on creating great web pages and building up your web skills. And once you get the hang of some of these web page skills, you might very well find yourself wanting to move from creating web pages to programming.
A Perfect Plan for the Perfect Score We want you to succeed on your AP* exam. That's why we've created this 5-step plan to help you study more effectively, use your preparation time wisely, and get your best score. This easy-to-follow guide offers you a complete review of your AP course, strategies to give you the edge on test day, and plenty of practice with AP-style test questions. You'll sharpen your subject knowledge, strengthen your thinking skills, and build your test-taking confidence with Full-length practice exams modeled on the real test All the terms and concepts you need to know to get your best score Your choice of three customized study schedules--so you can pick the one that meets your needs The 5-Step Plan helps you get the most out of your study time: Step 1: Set Up Your Study Program Step 2: Determine Your Readiness Step 3: Develop the Strategies Step 4: Review the Knowledge Step 5: Build Your Confidence Topics include: The Settling of the Western Hemisphere and Colonial America • The British Empire in America: Growth and Conflict • Resistance, Rebellion, and Revolution • The American Revolution and the New Nation • The Establishment of the New Political Systems • The Jeffersonian Revolution • The Rise of Manufacturing and the Age of Jackson • The Union Expanded and Challenged • The Union Divided: The Civil War • The Era of Reconstruction • Western Expansion and Its Impact on the American Character • America Transformed into the Industrial Giant of the World • The Rise of American Imperialism • The Progressive Era • The United States and World War I • The Beginning of Modern America • The Great Depression and the New Deal • World War II • The Origins of the Cold War • Prosperity and Anxiety • America in an Era of Turmoil • Decline and Rebirth • Prosperity and a New World Order • The Threat of Terrorism and the Increase of Presidential Power • Contemporary America: Evaluating the "Big Themes" of American History
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