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Reality TV satireReview Date: 2005-03-27
Wickedly Funny!Review Date: 2007-01-01
extreme hilarityReview Date: 2003-12-03
Hilarious!Review Date: 2003-09-05
Hysterical parody of the Survivor seriesReview Date: 2003-09-08

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Ives, the Bucky Fuller of American music!Review Date: 2002-03-17
Ives' great successes all came together, early in life, following his marriage. He composed on the side as he built his company, burning the candle at both ends. Swafford speculates that Ives was literally manic during those heroic years of the Teens, and that he subsequently crashed, enduring more depression than mania for the rest of his life. Interestingly, the Great War was such a blow to his idealism, he reacted physically, compounding his collapse. Ives retired very young, but rather than turn to composing, he found that he was unable. The rest of his life was devoted to trying to find an audience for the works of his glory years. I found the book most interesting here, in situating Ives in relation to the more well-known Modernists of his time -- Schoenberg, Stravinsky, Varese and the others. The irony is that while Ives' music came about independently, it was "popularized," only through association with the European revolutionaries, and so he was widely perceived as an imitator. The world was only ready for Charlie's music after the ground had been broken! The story of Cowell, Slonimsky, Carter, Gilman and Bernstein, who championed Ives over many years until he was finally recognized, is fascinating.
This is supremely enjoyable reading. Jan Swafford clearly loves Ives, and I found his account irresistable.
A Great American Composer Brought to LifeReview Date: 2003-05-12
Ives was born in Danbury, Connecticut and remained throughout his life attached to his vision of the post-Civil War small-town New England of his childhood. His father, George Ives, was a bandmaster and the greatest influence on Ives's life. Ives was a musical prodigy who began composing at an early age, quickly picking up experimental styles. He showed great proficiency at the piano and organ. (Through young manhood, we worked Sundays as a church organist.) He studied music at Yale where his teacher was Horatio Parker, a then famous American who was trained in the music of German Romanticism. As a college student, Ives wrote music played for the inaugaration of President William McKinley.
After graduation from Yale, Ives became a millionare in the insurance industry where he pioneered many marketing techniques. He also became increasingly Progessive and politically active and actually proposed a constitutional amendment which would increase the power of the democracy in government decision-making. At the age of 32, he married Harmony Twitchell who, after his father, was the greatest influence on his life.
Ives wrote music in the midst of an extraordinarily busy life. Most people think of Ives as a trailblazer and iconoclast. He was indeed, but may of his earlier works, such as the Second and the Third Symphonies are easily accessible and have a feel of America about them similar to the feelings Aaron Copland evoked some three decades later.
Jan Swafford's biography movingly and eloquently describes the life of Charles Ives. This is a reflective, thoughtful discussion of Ives, his America, his music, and its reception. In addition to a thorough treatment of Ives' life and works, Swafford has three chapters which he titles "Entra'acets" which consist of broad-based reflections on Ives's music and its significance. Swafford's entire book is full of ideas which are intriguing in themselves. Of Ives's work, Swafford gives his most extended treatment to the Fourth Symphony (he sees Ives as essentially a symphonist) and to the Concord piano Sonata. But many works are discussed in detail which will be accessible to the non-musician. The book has copious and highly substantive footnotes and an extensive bibliography.
Ives's Americanness, humor, romanticism, modernism, optimism, and generosity ( Ives gave large amounts of money to his family and to musicians and music publications. He also paid for the publication of several of his important works when commercial publishers showed no interest in them.) come through well. Swafford sees Ives as the last American transcendentalist in the tradition of Emerson. At the conclusion of his book, Swafford writes of Ives (p. 434)
" [I]n his music and his life he embodied a
genuine pluralism, a wholeness beneath diversity, that in itself is a beacon for democracy and its art. Aesthetically he
is an alternative to Modernism, an exploratory road without the darkness and despair of the twentieth century. In spirit
he handed us a baton and calls on us to carry it further. He suggests a way out of despair, but leaves it to us to find the
route for ourselves. If we are alone with ourselves today, Ives speaks incomparably to that condition."
This
book made me want to learn more about and to hear the music of Charles Ives. In its own right, it is a joy and an inspiration
to read.
A high-water mark in musical biographies.Review Date: 2001-07-16
In his early years, Ives was a one-man dynamo. Learning much of his music theory and practice from his father George Ives, who had been a very young (perhaps the youngest) Civil War band leader, and then from Horatio Parker at Yale University, he had more than a "thorough grounding" in the basics. However, unlike most American composers, particularly those of his and the following generation, he did not go to Europe for a post-grad internship with any known European composer, but simply set out on his own after matriculating from Yale. He went to New York City, employed as an insurance clerk for one full-time job, wrote music constantly for another full-time job, and had yet another career, had he wanted it, as organist and choir director for the Central Presbyterian Church in New York. During this period - leading up to his marriage in 1908 - he literally burned the candle at both ends. (Swafford goes on, later in the book, to posit why Charlie had this incredible burst of energy for the first 15 or 20 years of his adult life, but it's best that his reasons for this - and for Ives's shortened composing career - be left to you, the potential reader.)
Most anyone who knows anything about Ives knows that he became comfortably wealthy in the insurance industry, that during his active composing days little of his music was played by anyone, and that he was - literally and figuratively - burned out by the time he was only 40. For the remaining half of his life, much of it was spent editing, publishing and promoting his music and the music of others, including many friends, using the proceeds from his insurance success to underwrite projects for many composers who would have gone unnoted had it not been for him. Musical success - unlike business success - came too late in life for him to truly enjoy at least its artistic, if not financial, rewards. He was in his last years when Leonard Bernstein premiered his Second Symphony, and never lived to hear his masterpiece - his Fourth Symphony - premiered by Leopold Stokowski in 1965. Despite this, he was far from an unhappy man in his later years; philosophically resigned yet optimistic that his day might yet come would be the more accurate description.
Swafford's writing is simply wonderful. It tells the story of a true American iconoclast; an "original." The narrative flows beautifully without omitting anything of significance in Ives's life or about his music. (The book contains nearly 80 pages of endnotes, in which the musical marginalia are explained in exhaustive, but emminently readable, detail, to preserve the flow of the main narrative.) In parts, it is incredibly moving. I particularly enjoyed the extended "mating dance" of his courting of Harmony Twichell, who was to become his life-long helpmate (and who did live long enough to attend the Stokowski premiere of his masterpiece, as the guest of honor). Ives, ever the Victorian man if something else as a composer, would always refer to her, to third parties, as "Mrs. Ives." Yet their fifty years together could be a model for today's dysfunctional families. A beautiful chapter; one of the best in the book.
There's a curiously cryptic endnote that suggests a "what might have been." It is a fact that very little of Ives's music saw public performance before the early 30's, when Nicholas Slonimsky championed Ives and other "moderns." Yet another two decades were to pass until Bernstein premiered the Second Symphony. Yet, in 1910, while shopping in a music store in preparation for his final return to Vienna, where he would die in less than a year's time, Gustav Mahler purchased a fair copy - one of only two or three in existence - of Ives's Third Symphony. Swafford doesn't make that big a deal about this, but I do. I've always thought that Ives and Mahler, aside from being near-contemporaries, had more in common than they did in opposition. It is just conjecture - but truly fascinating conjecture - to think what might have happened had Mahler premiered Ives's Third Symphony at a time in the life of Ives when it really might have made a difference.
Just what was Ives, as a composer? Bernstein did him no favors by calling him "a primitive; a Grandma Moses of music" while at the same time championing his music. Back in those days, there were no labels like "atonalist," "serialist," "avant-gardist," "post-modernist," what-have-you, that we tend to use today to compartmentalize a composer. To me, Ives was, well... an iconoclast, an "original," and, if a label must be applied, our first "pre-post-modern." He was never imitated, at least not successfully, not only because he didn't have his own students as did other composers, but because by the time his music enjoyed sufficient - if not plentiful - performances, composers' agendas were different.
Fortunately audiences think differently, and do enjoy Charlie's music. And you will enjoy this book.
Bob Zeidler
Accessible tale of a musical maverick with a business headReview Date: 1998-07-09
Great combination of erudition and accessibilityReview Date: 1996-11-15

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AVID COOKBOOK READERReview Date: 2003-12-11
Great BookReview Date: 2003-09-02
Delicious!Review Date: 2003-09-16
Chefs Afield cookbook & TV series spectaularReview Date: 2003-09-01
Great Philosphies, Decent DishesReview Date: 2004-11-19
The idea is awesome in its purpose, design, and goal, but I think it falls somewhat short in execution. I think that's true both for the show and the book. Some of the dishes just aren't that great. Certainly not groundbreaking. The chefs are good, but not outstanding. There are, however, a few stand-out highlights. Anne Quatrano and Rick Moonen are a couple of my favorites, but overall, I'd love to see other chefs that have adopted this important philosophy. It seems Keller and Waters would have fit this bill perfectly, though maybe they're too big for the series.
In all it is a nice cookbook with an important message, but as a collection of recipes, there is a mountain of better choices out there including the entire library of Chez Panisse books which all embrace the culinary values from the Chefs A'Field series.

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The best book on Chet so far.Review Date: 2008-04-05
Chet AtkinsReview Date: 2008-01-07
BEAUTIFUL GUITAR PICTURES & STORIESReview Date: 2003-07-02
If you like vintage guitars or Chet Atkins' playing I can't recommend this book strongly enough. It is full of beautiful color pictures and behind-the-scenes descriptions of the development of some very interesting and historic instruments. Chet's stories of the people he played with, the guitars he played and the music he made are wonderful and totally engrossing. Buy this book today!!
A Chet Atkins Treasure!Review Date: 2006-03-16
Beautifully Illustrated With Engaging NarrativeReview Date: 2004-01-08
I have no hesitation in recommending this book to any country-music enthusiast or country guitarist, though the book also has a much wider appeal.

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Banat and Saint-GeorgesReview Date: 2007-06-17
An in-depth study of a singularly remarkable musician, politician, and fighterReview Date: 2006-08-09
Le Chevalier de Saint-GeorgesReview Date: 2006-07-27
Banat, a retired violinist from the New York Philharmonic and a specialist on the violin works of Mozart, is ideally positioned to understand the significance of this historical figure. It turns out that Le Chevalier was a major contributor to the symphony concertante genre, until recently thought to be Mozart's creation. As a musician, Le Chevalier was a violinist and composer, mastering the classical style and creating multiple compositions for orchestra and violin that remain underrepresented in the academic and performance Canon today.
Not only a prominent musician and athlete of his day, Le Chevalier was one of several African descendants who made important contributions to European elite culture. Born in Guadeloupe to a French plantation owner and his enslaved mother, Le Chevalier was educated in France, with substantial periods in England, where he was a champion fencer. In the latter part of his life, Le Chevalier became highly involved in the Haitian Revolution.
Mr. Banat began his study on Le Chevalier with an original article from the 1980s. Twenty years later, Banat's recent book reflects his dedication and enthusiasm toward his subject matter. The extensive documentation he provides for his assertions makes him the authority on Le Chevalier de Saint-Georges.
The Chevalier shines again--Review Date: 2006-09-02
The sad, powerful tale of this romantic hero's life and genius is all movingly here in Banat's scrupulous research and genuine affection--just waiting for an intrepid director and a first-rate actor to make a brilliant film that would really speak to our time.
Chevalier extraordinaireReview Date: 2006-06-16

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Oh, How I wish Sven was Syndicated in St. Louis!Review Date: 2008-03-24
So, I had to get this book. It is a quick read (nearly half is just a list of b-grade movies) and tells the tale of how Svengoolie came to be and where the whole thing started. If you are a fan of Svengoolie you owe it to yourself to take this fun trip down memory lane, or elm street...whichever.
A gift for my Svengoolie lovin boyfriendReview Date: 2008-01-25
Well researched and fun to readReview Date: 2008-04-24
Some folks might question why there's an entire appendix devoted to a "100 Monster Movies" rating guide, but to me it's one of the most enjoyable sections of the book because it goes hand-in-hand with the overall history of this subject. How can you discuss monster movie programming without discussing the monster movies themselves? If anything, I wish they'd gone a step further and covered even MORE titles. A few of my favorite films were overlooked. Am I the only one who has fond memories of CREATION OF THE HUMANOIDS? (Maybe I am.)
The book is well researched, fun to read, and has lots of wonderful photos and graphics. It makes me sorry that I missed out on all the fun. But then again, I didn't. No matter where you grew up, watching monster movies on television was a universal experience. This book captures that experience beautifully.
A necessary volume for Chicago TV history, horror and Svengoolie buffsReview Date: 2007-12-22
As a child and into my teens watching Creature Features on Channel Nine (the opening as a six year old terrified me), and then the Son of Svengoolie on WFLD, I loved local tv. Why do I say this? Simply put - I had high expectations for this book. The good news is that Ted Okuda and Mark Yurkiw exceeded them.
Looking for Elvira - you won't find her - but "Dear" clearly was a feast for the eyes. Now I finally know what my dad was talking about.
"From Shock Theatre to Svengoolie" is a needed part of the history of Chicago TV and Lake Claremont Press respectfully published a book others might take a pass on and remains a respected leader in local publishing of Chicago history. Well edited, designed and expanded in part by a solid and varied reference section which includes a solid list of films shown (and reviews), a heartfelt "Collector's Corner" with additional reviews, and a resource guide on where to find your horror needs - that alone would stand to qualify the book as a great resource; but yes - there's more.
The book is factual and warm about the subjects themselves - with wonderful chapters on characters such as Marvin and the curvacious and faceless "Dear" of Shock Theatre to Jerry Bishops "Svengoolie" concluding with the story of how Rich Koz's "Son of Svengoolie" became "Svengoolie" in his own right.
The book doesnt mince words. The Ghoul from Cleveland gets a chapter - and in that chapters lies the great story of the loyality of Chicago to it's city and to its broadcasters. That chapter alone made me smile - unfortuantely at an outsiders expense.
The book covers some obscure local attempts to compete against established programs as well - which goes to the detail the authors provided.
And then there was Sven.
While you can watch Jerry Bishop and Rich Koz on YouTube as Sven as a resource; the chapters on Svengoolie are detailed and worth the read.
I grew up and continue to watch Rich Koz as Svengoolie now in Chicago - and through this book you realize Sven's program not only entertains through horror but is also the last of the real local efforts to fight to keep local television creative, relevant and accessible. Koz is an important throwback to Garaway and other early Chicago broadcasters and deserves the praise and critical rsearch the book compiled.
In this book you can see why Koz is important as a local celebrity - and is up there with dare I say Studs Terkel and Oprah as important local personalities - even though Koz would likely deny this endorsement. WCIU should be credited for keeping a great program such as Sven on the air when others might just put an episode of "Night Court" on instead...yeech.
I particularly enjoyed the attention to detail; with photos of the old newspaper and TV Guide advertisements of the programs. If you loved those programs as a child - before there were so many options on cable; those ads were critical in promoting the programs and the movies we grew to love.
The book is lavishly illustrated and well written and referenced, footnoted and resourced. Time, effort and true affection for the material went into this tome.
In a book like this - there is room to be melancholy - and the authors avoid that trap. Lamenting on the fact local television is in most cases just the news; and all of TV's creativity is left to the networks would be an easy place to go - but the book is upbeat and most importantly a joy to read.
You want Creature Features? The book has it. Marvin and Dear - yep; its here too. Screaming Yellow Theatre and all of Sven? Yep - that too.
Clearly highly recommended.
I would write more - but my family is ready, the popcorn is popped and Svengoolie awaits .....
A must for any REAL horror fanReview Date: 2007-12-20

What an outrageous life!Review Date: 1999-11-03
SImply superbReview Date: 1999-07-21
A must for any real hard-rock fan !Review Date: 1998-06-25
A must for fans of Deep Purple, and all of Gillan's work.Review Date: 1997-07-11
Regarded by many as one of the greatest rock singers of all time -- this book details the life and times of Ian Gillan, best known as the lead singer for Deep Purple. Many will also remember him as the voice of Jesus on the original recording of the rock opera "Jesus Christ Superstar".
The book is a biography, written by David Cohen, with facts obtained from Ian himself. It gives insight into the clashes within the Deep Purple clan, and how Gillan went on to a successful solo career (only to return to the Purple camp he loved so well).
It's the world of rock and roll as seen through the eyes of one of its most witty and talented players.
An excellent bio of Deep Purple's outrageous lead singerReview Date: 1997-12-16
The incredible story of Ian Gillan, one of hard rock's greatest and most influential vocalists. Ian offers up many an outrageous tale of the life of a rock star, beginning with his childhood to the start of his third stint with Deep Purple in 1993.
The writing is witty and quick-paced and seemingly quite honest, as Ian relates freely both his triumphs and failures as a solo artist and as a member of such classic hard rock outfits as Deep Purple and Black Sabbath.
I highly recommend this for any fan of Ian, Deep Purple, or of hard rock/heavy metal in general.

terrific - Mike Chinoy has another fanReview Date: 1998-07-02
ExcellentReview Date: 1998-06-08
Five starsReview Date: 2004-10-13
A balanced review of the Middle Kingdom.Review Date: 1999-01-06
Excellent read! Insightful look at major historical events.Review Date: 1998-09-10


Man with a passionReview Date: 2008-09-25
You MUST read this if you grew up without a Dad or know someone who did!Review Date: 2007-10-27
Very Moving ReadReview Date: 2007-10-17
mlagaceReview Date: 2007-10-05
Outstanding!!Review Date: 2007-09-18

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A souvenir for my momReview Date: 2008-02-22
The Color Purple: A Memory BookReview Date: 2007-12-29
The color purple bookReview Date: 2007-10-02
One of the best memory books ever.Review Date: 2007-08-16
The Color Purple: A Memory BookReview Date: 2007-01-13
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Arch paranoid survivalist Ryan is bound and determined with the help of her trusty sidekick "Tiffany the knife" to win enough moola to outfit her backwoods retreat with the finest security a government-suspecting person could buy. Her only threat comes in the very delectable shape of Shannon,the former assistant to the network's president of programming and now network mole. Seems Shannon has hot-wired Ryan's brain to lust mode. Throw in a bitchy producer, a Latin haridresser queen, macho builder, veterinarian, buff boy, professor, minister, farm girl, fashion model and several other stereotypes, you have the makings for one tearfully funny nightmare contest.
No stereotype is left unskewered and every hyberbole is used to its fullest. This is one heckuva romp through the worst case scenario of a show gone awry. Absolutely a re-read favorite of mine and great pick-me-up on a rainy day.