Rage and Glory: The Volatile Life and Career of George C. Scott Review

Rage and Glory: The Volatile Life and Career of George C. Scott
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I am currently writing a book on the making of "Patton" and was eager to read this George C. Scott biography, given the actor's key role in that film. I write this review with mixed feelings.David Sheward has done an impressive job of interviewing Scott's friends and family in an effort to develop the man's personality and character. He has also consulted the numerous interviews that Scott did throughout the years. These resources are usually the only type of primary resources available for doing the history of the film industry. When I was in school at USC, I quickly learned that Hollywood does a horrible job of preserving its written records.
The result is that Sheward has some news stories tell about Scott. The man was a brilliant actor with few peers, but he was horrible insecure and full of self-loathing. When things went wrong, be it on the set or in his personal life, he got angry, really, really angry. He overcompensated with the bottle and alcohol only fueled his rage. Film buffs, however, have known about Scott's personal demons for years; he was quite upfront about them.
The ultimate problem with this book is that it offer its readers no new insights into the man. Sheward--through no fault of his own--never interviewed his subject and had no direct access to letters, diaries, or oral histories. As a result, you get a feel for how Scott moved through the acting profession and how many people felt about him, but the man himself seems a little absent from his own story.


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George C. Scott (1927-1999) born in Wise, Virginia, created some of the 20th century's most memorable performances on stage and screen - the cunning prosecutor in Anatomy of a Murder, the manipulative gambler in The Hustler, the buffoonishly warmongering chief of staff in Dr. Strangelove, and, of course, the brilliant and rebellious Patton. He also played Willy Loman, Richard III, Mussolini, Scrooge, Fagin, and countless others. But his offstage life was as filled with drama and controversy as any of the lives he portrayed with such intensity. He refused the Oscar for Patton, battled with TV networks to include realistic elements in his series East Side/West Side, invested (and lost) his own money on Broadway and in the scandalous film The Savage is Loose, married five times (twice to Colleen Dewhurst) and had a tempestuous affair with Ava Gardner, traveled to Vietnam at the height of the war to write an article for Esquire magazine, and weathered a damaging sexual harassment suit. In the first complete biography of this great star, David Sheward documents Scott's artistry as well as his roller-coaster career. Featuring interviews with numerous colleagues including Nathan Lane, Karl Malden, Piper Laurie, and Eva Marie Saint, as well as friends and family members, Rage and Glory pays tribute to one of our finest and fieriest actors.

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Mastering Piano Technique: A Guide for Students, Teachers and Performers Review

Mastering Piano Technique: A Guide for Students, Teachers and Performers
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As a pianist I've read MANY books regarding piano technique. Seymour Fink's Mastering Piano Technique is a well thought out and extremely helpful addition to the literature. It is similar in content to the classic technique book by Abbey Whiteside. Based on total understanding of the pianist's physiology, both authors are in favor of utilizing shoulder, arm, torso, legs, etc. in conjunction with fingers to produce sounds. Various parts of the body work as levers - each logically taking more or less responsibility based on the demands of the music. This reduces the chances of developing tension. Fink's ideas make for better music making by having the pianists movement absolutely linked to phrasing and articulation. As with the Whiteside book, it is not always easy reading....but it is worth the effort in the end.
As I mentioned, Fink has categorized different movements which correspond with certain sounds and articulation. Ultimately these movements make playing imminently easier. Fink creates keyboard choreography which the pianist can keep coming back to as the demands of the music dictate. Fink's ideas such as "fingersnaps", "pronation" etc. satisfied a variety of musical and technical requirements.
In my experience no one book on technique can totally satisfy all of the technical demands of piano playing. That would be the same as claiming there is only one right interpretation for each piece of music. Fink's myriad ideas and solutions pertaining to piano technique make this book absolutely worth having: everyone can absolutely take something useful away from this book.

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This holistic approach to the keyboard, based on a sound understanding of the relationship between physical function and musical purpose, is an invaluable resource for pianists and teachers. Professor Fink explains his ideas and demonstrates his innovative developmental exercises that set the pianist free to express the most profound musical ideas. HARDCOVER.

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The New York Times Book of Broadway: On the Aisle for the Unforgettable Plays of the Last Century Review

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Songs Of Gaelic Scotland Review

Songs Of Gaelic Scotland
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There is quite literally a lifetime of enjoyment in this book for lovers of Scotland, poetry, history and Gaelic song.
Those of us who love the Gaelic in these far shores of America and other places certainly are exiles to some degree but also custodians of what we consider a sacred relic and an essential part of our splendid ancient heritage such as the MIST-COVERED MOUNTAINS (played at JFK's funeral)
So here are some songs of YOUNG HEROES ( òglach):
Tha mi'n dùil, tha mi'n dùilI expect, I expect
Tha mi'n dùil-sa bhith tilleadhI expect to return
Dh'ionnsaigh Dùthaich MhicLèoidTo the land of Macleod
Far an òg robh mi mireWhere I played when I was young

Fhuair sinn litrichean o'n rìghWe got the letters from the king
Gus sinn fhìn dhèanamh ullamhSo that we could prepare
Los a dhol a-null do'n FhraingTo go over to France
A chur braing 'san fhear-mhillidhTo upset the destroyer (Boney; Napoleon though in another context it could be Hitler as well)

Nuair a chuir iad sinn air tìrWhen they put us ashore
A-measg shìobain is murainAmong the waves and the sea-bent
Thug sinn batal air an tràighWe fought a battle on the beach
'S gun d'rinn pàirt againn fuireachAnd some of us remained

Fhir a dh'imicheas do'n IarYou who travel to the West
Ged robh bliadhna mun ruig thuThough it were a year before you arrive
Thoir an t-soiridh seo do m'ghràdhBring this greeting to my loved one
"Ma is slàn mi gun tig mi""If I am alive, I will come"

Tha mi'n dùil, tha mi'n dùilI expect, I expect
Tha mi'n dùil-sa bhith tilleadhI expect to return
Dh'ionnsaigh Dùthaich MhicLèoidTo the land of Macleod
Far an òg robh mi mireWhere I played when I was young

It is interesting to compare the tone of the old Highland song to this more modern Scots variation by Roddy MacMillan which is quite powerful.
I Will Go

Chorus
I will go, I will go
When the fighting is over
Tae the land o' MacLeod
That I left to be a soldier
I will go, I will go

When the King's son came along
And called us all together
Sayin', Brave Highland men
Will you fight for my father?
I will go, I will go

Chorus
I will go, I will go
When the fighting is over
Tae the land o' MacLeod
That I left to be a soldier
I will go, I will go

I've a buckle on my belt
A sword in my scabbard
A red coat on my back
And a shillin' in my pocket
I will go, I will go

Chorus
I will go, I will go
When the fighting is over
Tae the land o' MacLeod
That I left to be a soldier
I will go, I will go

When they brought us all on board
The lasses were singin'
But the tears came to their eyes
When the bells started ringin'
I will go, I will go

Chorus
I will go, I will go
When the fighting is over
Tae the land o' MacLeod
That I left to be a soldier
I will go, I will go
When we landed on the shore
And saw the foreign heather
We knew that some would fall
And would lie there forever
I will go, I will go


Chorus
I will go, I will go
When the fighting is over
Tae the land o' MacLeod
That I left to be a soldier
I will go, I will go

When we came back to the glen
The winter was coming
Our goods lay in the snow
And our houses were burnin'
I will go... I will go

Chorus
I will go, I will go
When the fighting is over
Tae the land o' MacLeod
That I left to be a soldier
I will go, I will go


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The Hebrides and Gaelic Highlands are one of the world's great treasure-houses of song. While many have plundered that legacy, from Marjory Kennedy Fraser onwards, most editions are either full of dubious emendation and alteration or are so scholarly as to be inaccessible except to specialists. This is the first collection of Gaelic song to address fully the needs of the singer and the needs of authenticity while remaining accessible to all. This collection combines the following features: -- a general introduction to the Gaelic musical and poetic tradition -- reliable versions of the text and music for each song plus enough verses to make a viable performance -- full notes on the historical backgrounds of each song plus full references to other sources -- full notes on the technical aspects of the music and the song tradition -- full discography Some of the songs in this collection date back to at least the fifteenth century but many of their elements reflect a culture far older still - a non-literate but far from ignorant society in which the arts were held in the highest reverence. It was through the highly trained memories of the bardic orders that knowledge was passed from one generation to another. To anyone interested in social history these songs paint a vivid picture of life among the Gaelic-speaking peoples, filling many of the gaps left by official histories and documents. These songs are a window into the lives of the people who composed and sang them - their hopes and fears, their jokes and preoccupations, what it was that made them angry or afraid. In their beauty and humanity they are amongst the jewels of western civilization.

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Timeless Review

Timeless
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Can you put a time limit on love? According to this book, no. Michele's had dreams about a young man since she was a little girl and never understood why she felt so much love for this stranger. When Michele finds the beautiful chain with the key, she is transported back in time to her ancestors. From 1910, to the roaring 20's, and through the World War Michele is there.
Monir paints such a vivid picture for the reader while describing old NYC. I live in NY so the landmarks and streets that were being named, I knew. I literally saw the horse drawn carriages, the flapper dresses, to the smoky cotton club. I'm a huge fan of historical fiction so this was right down my alley. Usually I'm upset when romances happen fairly quickly in books but this was a different case. Michele's been dreaming about Philip since she was a young girl. Well of course all she needed to do was see him for that love to awaken in her.
When I read this mostly I was on the train. I had no idea what was going on around me. I remember a few times almost missing my stop and thinking "Wait, where am I??" It felt like I was completely transported back in time myself. The author does an excellent job of drawing us in and holding us there. I was not confused by the time traveling at all. The transitions were done very smoothly. I like the way we visited all of Michele's ancestor's, each in a different era. This novel is humorous at times, heart breaking, engaging and romantic. I truly enjoyed it and it is a beautiful love story definitely for hopeless romantics.

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The Art of Acting Review

The Art of Acting
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This great book has a quick and enthusiastic Introduction by former student Marlon Brando, and then consists solely of transcripts of cogent and thought-provoking lectures of the legendary and revered acting teacher Stella Adler (1901-1992). Howard Kissel has compiled, or possibly combined, tapes in order to come up with these "classes," or chapters.
Adler was an eloquent and reverential philosopher of acting, a teacher and acting coach extraordinaire of Brando, de Niro, Warren Beatty, Harvey Keitel, Candice Bergen, and many more. As a young, serious actress she had traveled to Paris, in order to study with Konstantin Stanislavsky, founder of "Method" acting. She was his only American student. She brought his philosophy back to the US, but added her own considerable beliefs to it. She cautions students: "Don't read his book, because it makes absolutely no sense. He came from a culture entirely alien to yours, and you won't understand it."
The twenty-two classes are seemingly presented verbatim. Each 'class' forms a chapter, and has a named subject as its organizing principle. ("Acting is Doing," "Developing the Imagination," Building a Vocabulary of Actions," "Understanding the Text," Dressing the Part," "Instant and Inner Justifications," etc.) Each class is clear, thoughtful and thought-provoking, and wonderfully stimulating. Adler focuses on meaning and the soul of the thing - at all times. In addition, she is delightfully concrete, so you are never lost in well-meaning platitudes.
Right off the bat, you are educated as to why acting is not a cousin to, for example, fashion modeling. Adler is blunt, and supports her assertions. Acting has nothing to do with being "discovered," it is not about fame or celebrity. She bemoans the loss of the theater companies of mid-century, and the opportunities they provided to actors, who are now left to 'go it alone.'
To Adler acting is a labor of intelligence and will and love, a "profession that is over 2000 years old" and one that requires boundless energy and a sort of selfish (but not narcissistic) ambition first, and then "critical seeing, self-awareness, discipline, and self-control" - for starters. She talks about the importance to an actor of the use of one's imagination, the disciplined willingness to actually do the research -in order to care deeply and conscientiously about the play. She asserts, "A great disservice was done to American actors when they were persuaded that they had to experience *themselves* on the stage instead of experiencing the play. Your experience is not the same as Hamlet's - unless you too are a royal prince of Denmark. The truth of the character isn't found in you but in the circumstances of the royal position... [to play the role] your past indecision on who to take to the prom won't suffice."
This book is stimulating, uplifting, thought-provoking, and deep. You do not have to be interested in 'doing' acting in order to enjoy her wisdom. Worth reading, and rereading.

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A Beautiful Fairy Tale: The Life of Actress Lois Moran Review

A Beautiful Fairy Tale: The Life of Actress Lois Moran
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Richard Buller's knowledge seems to have no bounds. With clarity and confidence, the author presents key moments in the life of Lois Moran. He also spends a third of the book exploring her relationship with F. Scott Fitzgerald. Buller had a vast amount of information at his disposal: Moran's journal and autobiographical notes, her son Tim, and Moran herself. Plus, he researched numerous books and contemporary newspaper articles. Intimidated? Don't be. Buller pulls all the pieces of the puzzle together for us, in a seemingly effortless flow of historical events. Don't know the works of Moran or Fitzgerald? Buller provides clear summaries. Then, he takes us to the next level by analyzing how Moran influenced Fitzgerald. In addition, the book provides many pictures with helpful captions. Even if you've never heard of Lois Moran, this is a "must have" for anyone interested in F. Scott Fitzgerald, movies, or the Jazz age.

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Coming of age in Paris in the 1920s, film and stage actress Lois Moran was a rumored paramour of writer F. Scott Fitzgerald and the inspiration for the character of Rosemary in his Tender Is the Night. As a young girl, Lois moved to Paris with her mother and thrived in the artistic and literary glow of the city. She danced with the National Paris Opera at age 14 and also was cast in two French films. Samuel Goldwyn, on a European tour in search of new talent, saw her work and was impressed. He cast her in what would become one of the best-known films of the era. With her performance as Laurel, the emotionally conflicted daughter in Stella Dallas, Lois Moran became an overnight sensation and took Hollywood by storm, and on her own terms. The author corresponded with Lois Moran during the last five years of her life. He had full and exclusive access to her journals, scrapbooks, and photos. In telling the Lois Moran story, Buller illuminates the history of film, theater, and television. He also includes a thorough and unique account of the actress's relationship with Fitzgerald. HARDCOVER

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Dylan Thomas: The Complete Screenplays Review

Dylan Thomas: The Complete Screenplays
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"comprised of"? I can't believe the Library Journal Ain't go no better English. It's description is included of mistakes in plain english.
As for the scripts, they are some things Thomas did to try to earn a buck, something he always needed to do a better job of -- he was broke more often than he was drunk. They're collected here so the publisher can make a buck (presumably) and so that Thomas scholars had have "complete editions."

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The first complete collection of Dylan Thomas's screenplays offers a unique portrait of his life and times as a professional film writer.

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The Daily Adventures of Mixerman Review

The Daily Adventures of Mixerman
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Anybody who has ever spent time in a recording studio should read this. And those that haven't spent time in a recording studio should read it just to get a taste of what they DON'T miss.
As a musician and engineer/producer, some of the accounts in the book had me ROFL while other stories just ring VERY true.
And behind all the sarcasm and outrageousness of the (true) tale of a band without any clue and little proficency but too much time and (loaned) money on their hands, there actually is much to be learned about record-making and producing.
Highly remommended!

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Mixerman is a recording engineer working with a famous producer on the debut album of an unknown band with a giant recording budget. Mixerman is supposed to be writing about recording techniques, but somehow, through that prism, he has hit upon a gripping story. Like all great narratives, Mixerman's diary has many anti-heroes for whom we, the readers, can have nothing but contempt. The band consists of the four most dislikable human beings you can imagine. The singer is vain and pretentious. The guitarist is a serious depressive. The drummer is as "dumb as cotton," and the bassist is merely mean and petty, making him the only one that Mixerman can stand. All four of them hate each other's guts, and they haven't even been on tour yet. Mixerman takes you through the recording process of a bidding war band in over their heads with a famous record producer (also in over his head). Many find Mixerman's diary entries side-splittingly funny. Some find them maddening. And a select few feel they are the most despicable accountings of record-making ever documented.

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Conversations with Boulez - Thoughts on Conducting (Hardcover) Review

Conversations with Boulez - Thoughts on Conducting (Hardcover)
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Both the Kirkus and other Amazon review are on the mark with this book. I read this book as a great admirer of the composer and conductor and welcome any further knowledge into his 'larger than life presence' as an artist. The book which is divided into chapters separated by various topics and developed as a Q &A format. Whereas other books on Boulez ("Orientations" or Lev Koblyakov's Analysis of Le Marteau) deal with pitch analysis (almost exclusively in the latter), this book REALLY gives you insight into the inner-workings of the former conductor of the New York Phil and LSO. You become privy to his sense of programming, which of the 'dead' composers work get programmed and why, why the predilection for French composers (berlioz and ravel). Following the interview chapters are a pretty comprehensive list of all of the programs Boulez had done through 1995. It is definitely geared toward those who want to know more about this amazing conductor. You don't need to have a huge music background to understand this book, albeit some of the 'name' references of particular scores may be a bit confusing for the non-musical layman (for ex. referring to the Dance of the Earth, some might not know this as the last movement of Part I of Stravinsky's Rite of Spring) These are minor points but shouldn't discourage possible readers. Thank you Camille Naish for getting it into English for the rest of us!

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Wherever You Are: My Love Will Find You Review

Wherever You Are: My Love Will Find You
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Nancy Tillman's wonderful On the Night You Were Born is one of my very favorite books. Its celebration of the uniqueness of each and every child told in lyrical language [For never before in story or rhyme (not even once upon a time) has the world ever known a you, my friend, and it never will, not ever again...] make it the gift I choose most often for expectant or adoptive parents. I also read it regularly with my grandchildren and talk with them about how special they are.
Tillman feels that the most important message for children to receive is simply, "You are loved." And it's that message that is the focus of this, her newest book, Wherever You Are: My Love Will Find You. Once again, it is her turn of phrase that most captivates me: In the green of the grass...in the smell of the sea...in the clouds floating by...at the top of a tree...in the sound crickets make at the end of the day..."You are loved. You are loved. You are loved," they all say./// Phrases encourage children to grow, to try new things, to "march to the front" of their "own parade" and assures them that, no matter how far they go or what they do, they will be loved.
Though the words alone would convince me to buy, share and recommend this book, Tillman is also a gifted artist and her lovely work makes this book a visual treasure as well. Through the pages, a child (vaguely male, but one could possibly be persuaded that it is female) rides hippos, splashes in the surf with elephants, plays hide and seek with rabbits, shares a trampoline with a kangaroo and enjoys some quiet time with a pair of pandas. My favorite drawing has the child walking away along a wide path that runs between trees shrouded in mist. In all of the drawings, swirls of sparkling lights wrap around the child - the love that will always be with him/her. (For those who might be interested, some of Tillman's artwork from previous books is available via a link that can be found on her website. Just Google her.)
I've read On the Night You Were Born dozens of times and with every single reading, I am incredibly touched, moved by Tillman's words. Wherever You Are: My Love Will Find You creates the same feeling of wonder, peace and happiness in me. It's a keep-forever book and I'm so happy to have it in my collection to share with the children I love most.
Very highly recommended, both for personal collections and for gift-giving.


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Roc the Mic Right: The Language of Hip Hop Culture Review

Roc the Mic Right: The Language of Hip Hop Culture
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In a deceptively slender book, Roc the Mic addresses weighty and rarely-discussed linguistic aspects of hip hop culture. I've marked up countless pages as I read through the book, bookmarking pages here and there for future reference. It's a superb resource, particularly for those who want to understand and closely examine the language of the most vibrant cultural phenomenon of our current times. Using meticulous linguistic analyses, interviews with artists, case study, and more...Alim uses every strategy at his disposal to define, explain, and even debate thick socio-political, pedagogical, and identity dynamics framed by hip hop language. While some readers might find some views and explications verging on the controversial, in the end, Roc the Mic establishes itself as a foundational volume for serious hip hop linguistic scholarship. If that weren't enough, it also provides room for inquiry questions to develop, thus paving the way for future research. Real talk!

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Complementing a burgeoning area of interest and academic study, Roc the Mic Right explores the central role of language within the Hip Hop Nation (HHN). With its status convincingly argued as the best means by which to read Hip Hop culture, H. Samy Alim then focuses on discursive practices, such as narrative sequencing and ciphers, or lyrical circles of rhymers. Often a marginalized phenomenon, the complexity and creativity of Hip Hop lyrical production is emphasised, whilst Alim works towards the creation of a schema by which to understand its aesthetic.Using his own ethnographic research, Alim shows how Hip Hop language could be used in an educational context and presents a new approach to the study of the language and culture of the Hip Hop Nation: 'Hiphopography'. The final section of the book, which includes real conversational narratives from Hip Hop artists such as The Wu-Tang Clanand Chuck D, focuses on direct engagement with the language.A highly accessible and lively work on the most studied and read about language variety in the United States, this book will appeal not only to language and linguistics researchers and students, but holds a genuine appeal to anyone interested in Hip Hop or Black African Language.

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The Levon Helm Midnight Ramble Review

The Levon Helm Midnight Ramble
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Great gift for a fan who is into the Woodstock culture and follows the Band! Levon Helm is a masterful entertainer and this book details his journey from early roots to current Midnight Rambles. Was a big hit for my father in law and the pictures and stories are terrific!

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The official record of the incredible down-home jam sessions held by Levon Helm, the charismatic drummer, singer, and sometimes mandolin player for The Band. Accompanying the spectacular photos are testimonials and remembrances from the notable blues entertainers and musicians who have joined the Ramble.

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Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950 Review

Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950
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For what it does, this is an excellent study. Who else would take the time to document in utmost metronomic detail the subtle shifts of tempo in a wide variety of compositions, performed by an extremely varied group of performers so that we can now have a 'performance practice' of early 20th century performers instead of just that of the 16th-18th centuries and earlier?
This book will give back-up to those present day performers who recognize the need for extricating concepts of tempo from the limitations of the late 20th century which Philip discusses in this book and for re-creating in modern interpretations the tempo rubato taken for granted in the late 19th century, to say nothing of earlier centuries.
The reader certainly does not have to agree with all his conclusions to recognize that Philip has done his chosen task very, very well indeed.

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Until recently, early recordings were regarded as little more than old-fashioned curiosities by musicians. Scholars and musicians now are beginning to realise their importance as historical documents which preserve the performance of composers and the musicians with whom they worked. In this fascinating study, Robert Philip argues that recordings of the early twentieth-century provide an important and hitherto neglected resource in the history of musical performance. The book concentrates on aspects of performance which underwent the greatest change in the early twentieth century, including rhythm, rubato, vibrato, and portamento. The final chapters explore some of the implications of these changes, both for the study of earlier periods and for the understanding of our own attitudes to the music of the past.

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The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making Review

The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making
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Well devil if I know what to do with it.
Never complain that you are bored, ladies and gentlemen. Say such a thing and you might find that the universe has a couple tricks up its sleeve. Let's say, for example, that a certain children's librarian was getting bored with the state of fantasy today. Maybe she read too many Narnia rip-offs where a group of siblings get plunged into an alternate world to defeat a big bad blah blah blah. Maybe she read too many quest novels where plucky young girls have to save their brothers/friends/housepets. So what does the universe do? Does it say, "Maybe you should try something other than fantasy for a change"? It does not. Instead it hands the children's librarian a book with a title like "The Girl Who Circumnavigated Fairyland in a Ship of Her Own Making" and (if she hasn't hyperventilated after reading the title) says to her, "Here you go, smart guy. Try this on for size." That's what being cocky will get you. It'll have you reading a book that walks up to the usual middle grade chapter book fantasy tropes and slaps 'em right smack dab in the face. I have never, in all my livelong days, read a book quite like Catherynne Valente's. My job now is to figure out whether that is a good thing, or very very bad.
When September is asked by The Green Wind whether or not she'd be inclined to take a trip to Fairyland with him, she's so excited to get going that she manages to lose a shoe in the process. Like many a good reader September is inclined to think that she knows the rules of alternate worlds. Yet it doesn't take much time before she realizes that not all things are well in the realm of magic. A strange Marquess has taken over, having defeated the previous good ruler, and before she knows it September is sent to try to retrieve a spoon from the all powerful villain. Along the way she befriends a Wyvern who is certain that his father was a library, and a strange blue Marid boy named Saturday who can grant you a wish, but only if you defeat him in a fight. With their help, Saturday realizes what it means to lose your heart within the process of becoming less heartless.
Divisive. Each year you'll encounter one big children's book that can be labeled as such. Certain books and certain writers can have violent affects on their readers, unsuspected until the official reviews start pouring in. Then suddenly folks with opinions start pouring out of the woodwork. The books are as varied as "Mockingbird", "The Underneath", "The Miraculous Journey of Edward Tulane" or "The Boy in the Striped Pajamas". One thing's for certain, though. Everyone has an opinion. This year I've only identified two potentially divisive books and one of them is the title you see before you today. I know I've been a little cagey about what I thought of it until now so here's the 411: I like it. A lot. Far more than I thought that I would, particularly after that first chapter. As far as I can determine, enjoying this book means getting through Chapter One. If you read the first chapter and find yourself throwing the book against the wall without restraint, this may not be the story for you. If, however, you feel a vague queasiness that manifests resolves into reluctant curiosity, you may wish to continue. And if you do, you will find a title that really outdoes itself in being . . . well . . . it's own very one-of-a-kind self.
But why is it divisive? It all comes down to Valente's language. Look, here's the first sentence as an example: "Once upon a time, a girl named September grew very tired indeed of her parents' house, where she washed the same pink-and-yellow teacups and matching gravy boats every day, slept on the same embroidered pillow, and played with the same small and amiable dog." About ten words into that sentence you had to make a decision on whether or not to continue reading. Here's some advice on going through this book. Step One: Get a grasp on its internal logic.
The "Alice's Adventures in Wonderland" comparison is inevitable. Generally speaking, a person is able to identify a poor debut children's book when the author attempts to make an Alice-in-Wonderland-but-with-a-twist book. The problem with this plan is that just as no band sounds quite like The Beatles, no children's novel ever sounds quite like "Alice". They try, oh Lord they try, but no go. More often than not such books are instead tedious and very poorly done. Most of them think that the lure of "Alice" is strange talking creatures in a world with no rules. This is somewhat true, but it's only a piece of the puzzle. And in all my days as a children's librarian, reading fantasy after fantasy, I have NEVER encountered a book that came as close to "Alice" as this. Not because Valente also throws a girl into a fairyland with kooky characters, but because it is so infinitely clear that she loves to play with language. Logic isn't as twisted up as it is in Carroll's universe, but that's all right. Valente is comfortable weaving her own unique vision, and like Carroll she's not afraid to throw in a little joke for adults once in a while. Would a kid get anything out of reading that the Green Wind possesses a "golden ring of diplomatic immunity"? Probably not and they probably won't care when Saturday enters a delicious looking town that, "was as though the witch who built the gingerbread house in the story had a great number of friends and decided to start up a collective." But it won't hurt the reading experience either.
Of course September is far more active than Alice when seeking out her adventure. In fact, if I were to compare her to any famous children's literary character, she probably bears more in common with Milo from "The Phantom Tollbooth" than anyone else. That was my first thought. Then after a while I decided that September begins as Alice (after all, she lies right at the start about wanting to go home), morphs into Dorothy (girl + faithful companions to defeat the big bad villain), and comes to us by way of Milo (boredom as a storytelling impetus). That's a pretty pedigree. On top of that, this is a thoroughly American fantasy. One where you won't encounter random characters with cockney accents (a current pet peeve of mine). September hails from Omaha, Nebraska and the story seems to take place during WWII. Her father is stationed in Europe while her mother works in the factories at home. Many fantasies for kids eschew placing their stories in such distinctive time periods, but if it worked for Narnia it should work here too.
And Valente gets personalities down rather well too. I heard one complaint that the Marid named Saturday is hardly a fleshed out character. I might contest this, though, since I found him capable of many small touches that rang clear and true to me. For example, at one point he makes a point that is followed up with the notation, "He was still too shy to suggest anything without wrapping it up tight to keep it safe." Likewise the villain of this book is delicious. It takes a while to get a good grasp on the Marquess, but once you get her full backstory then there's a lot to admire here. A mere two-dimensional villain she is not, and for that I was grateful.
Ana Juan, brilliant Ana Juan, could not have been a better person to draw the interstitial illustrations that appear at the beginnings of each and every chapter. This Spanish illustrator specializes in dreamlike worlds on her own time ("The Night Eater" is a perfect example) so it is interesting to see what she does with a book like Valente's. To my surprise, she hones in her talents a bit. The pictures here are most definitely her own, but there's a tendency here to make them a little younger and clearer than I'm used to seeing. There's a darkness to Valente's story that does not replicate itself in the pictures, which is probably a good thing. After all, Quentin Blake's illustrations have always served to make Roald Dahl less frightening at times. Maybe Juan's are doing the same thing here.
In the end, it's all about the language and the inevitable question of whether or not kids will dig the book. It's a worthy question. When a character is sent to a fairyland, even one in dire straits, it is up to the author to make it clear that this is a place you would want to visit. Some fantasies go a shade too dark and because of this inclination do not become beloved by children. Valente, however, mixes some wonderful elements with some horrific ones well enough that I think this book could be fondly remembered by a child years and years later. And when they return to it as adults, how surprised they will be by the wordplay. I won't lie. Some folks do NOT like this book, and I can understand why that is. For me, though, this is just one of the smarter juxtapositions of the fantastical with the tongue-twisted. Here you have an author who clearly enjoys writing. And if that enjoyment seeps through the page and into the reader's perceptions, then here is a book that they'll clearly enjoy reading. A true original and like nothing you've really ever seen before.
For ages 9-12.


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Bronx to Broadway: A Life in Show Business Review

Bronx to Broadway: A Life in Show Business
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Hal Thau's career, as with most high achievers, is a study of perseverance, determination and introspection. As he discusses the "pioneering spirit" in one chapter, the reader sees clearly through his examples and experiences that Thau does indeed have the pioneering spirit...and the ability to work with others (actors, entertainers, etc.) who also have it to help them "focus." I found his mix of sharing about the celebrities he managed and the personal glimpses of his own life and values excellent. I also appreciated Thau's poetic way of expressing things...his observations and introspection are thoughtfully and often poignantly expressed... It is so very interesting to read of this man's success in show business/management/producing and to also see he has kept his feet on the ground. His is an example of a life in which both worldly success and personal success are achieved and balanced. I highly recommend this book for all who share an entrepreneurial spirit--for all who seek to follow their dreams...it is an inspiring and insightful book.

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As a boy growing up in the East Bronx, Harold Thau dreamed the American Dream. In Bronx to Broadway, he pays homage to that experience which carried him from a sea of tenements to the exciting Great White Way and a successful career as a theatre producer. Rich in colorful inside stories of show business personalities, Harold Thau provides a portrait of the entertainment industry seldom evoked and largely unseen, told with insight, humor, and a sense of humanity about the business of show business.

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Merry Christmas Songbook: Over 100 Holiday Classics (Book & CD) Review

Merry Christmas Songbook: Over 100 Holiday Classics (Book and CD)
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A must-have for group song leaders (or wanna be s)!
I like this book very much, even though it costs more than some similar Christmas songbooks because it contains:
A spiral binding allows it to lay flat on music stand, piano, etc.
A lyrics book allows more people to sing along than just those that can look over the shoulders of the accompanist.
Brief stories about the songs and carols (not 100% accurate, but some stories are more legend, anyway), some that I had not seen before.
Guitar chords.
A great many selections.
Some selections I had not been aware of before.
Faster, easier, and more reliable (and legal) that searching for lyrics and music on the internet.
Drawbacks:
Some selections are in a key unfamiliar to my accompanist, and me but then I don't really have that great of a singing range.
Some very popular selections are missing: "White Christmas", "(There's no Place Like) Home for the Holidays", but those are so familiar and easy to sing I probably shouldn't count them.
Probably because of space limitations, some selections do not have all of the verses that I have discovered in other sources.
P.S. Another good songbook that I found is "Most Popular Christmas Songs & Carols" (Warner Bros.) has some newer selections and might be helpful.

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The new edition of Merry Christmas Songbook will help you and your family share the songs and the warmth of this wondrous time of year. This volume presents 108 favorite holiday songs and instrumentals, is spiral bound to enable the pages to lie flat, and includes a companion lyric book.--This text refers to an out of print or unavailable edition of this title.

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