Genres Books

I happen to work for a company that was founded by Shlomo Dunour's son. So this book came personally recomended. Though I started reading it to be "nice" I discovered that this was a book I truly enjoyed. It gives you an understanding of what it might have been like to be the first person God placed on Earth. And the guilt Noah must have felt over not being able to save others from the destruction of the flood. I highly recomend this for people of any religion.

Well, I have a few differing thoughts in my head about this book. I think it is a hard to give an old story a new & exciting twist, but Dunour did a pretty good job handling that. I'm not sure if the story could have "flown" better though...what he did was combine two stories, one of Adam & Eve & another of Noah & the Ark. And he would go back & forth with each story until the end where they reached their climaxes together. I think I would have enjoyed it better if it would have just been one story after the other, in chronological order, but then again, I see how this concept added to the eventful ending. So, I'm not decided on that yet...The other criticism I have is that the story should have moved a little faster, or included more action (activity). At many points the story dragged, but it picked up towards the middle where both stories started picking up. However, it seemed to take the author many chapters just for small things to happen.
Over all, the book was enjoyable. Definately interesting to see old stories like these re-written. Helps people relate to them a little more I think. I'd recommend reading it & see what you think.

Reading the Book of Adiel by Shlomo Du-nour is like floating through heaven and earth using the character of Adiel. Looking at the same events, so well known to us, of the biblical story of Adam, Eve their family and ancestors, from a different angle is a marvels experience. The watching spot of an angle looking at the beginning of the human kind, allow Adiel to tell the story with a lot of sympathy but yet with some criticism. Reading the story written so well, allow us to look at the biblical characters, stripped to be just plain human beings, straggling through a new world and trying to fight the nature forces and their internal forces of their soul at the same time.

In our days, where religions and religious people seems to take their understanding of god to evil and dark places, Adiel shed a light of sanity to the biblical story, possessed only by religious leaders.

In summary - Read and don't stop until the end.

There's not much point in recounting the plot of "Adiel", as it is probably a fair assumption that anyone who picks it up will be familiar with the story of Adam and Eve, their fall from Grace, and expulsion from the Garden. Likewise, they are most likely familiar with the story of Noah and his Ark. It is these two moments from the earliest book of the Bible that form the centerpiece of "Adiel". DuNour brilliantly sets at odds the creation, and the loss of grace, and destruction and the redemption of mankind.

DuNour's muse is the angel Adiel, who has been called upon by God to record the works of men until such time as they can record history for themselves. As a result, Adiel bears witness to the first ten generations of mankind: from the temptation of Eve to Noah's offer of thanksgiving. As I alluded to earlier, DuNour weaves these two elements, the dawn of humanity and its near destruction, alternately into the story to great effect. By offsetting the beginning and the end, he makes a powerful statement about a God who is learning to accept the path His Creation takes. In lesser hands, this might come across as blasphemy, but DuNour paints a portrait of a God who is wise enough to know when to change course, and when to stand quietly by.

Moreover, the eponymous Adiel is a brilliantly conceived literary device. By turning over the narration to a being whose whole will is bent utterly to God's will, but whose mind is his own, DuNour is able to offer insightful commentary on a variety of subjects. Why does God allow man free will, when He knows wrong choices will frequently be made? Why does He suffer evil in His creation? Is He pleased with what He has created? I suspect that each reader will draw different conclusions from these questions, as DuNour never attempts to answer them definitively. That said, it is the very asking of such powerful questions that sets this book apart.

Ultimately, DuNour suggests that it is mankind's ability to overcome its mistakes that is most pleasing to God. Moreover, this seems to be because it echoes God's own displeasure with the path his most beloved creation initially followed, and how He eventually grew out of that displeasure (perhaps sadness would be more appropriate) to love what man had become. I am by no means a biblical scholar, and while I do believe in God, I've never taken the Book of Genesis literally, but there is something immensely comforting in DuNour's take on these ancient stories. That's because, above all, he writes of God who wants only the best for us, and while He will allow us to suffer the consequences of our actions, it is His fervent wish that we overcome them.

Jake Mohlman

This is a remarkable work that fits African music into its cultural context and is consistently provocative and enlightening. It's a world music classic, along with such studies as "The Latin Tinge," "The Brazilian Sound" and "Catch a Fire."

What begins as a primer in African polyrhythm becomes a spiritual quest to understand culture and humanity. Don't skip the endnotes in this impassioned examination of musical tonality and rhythm. Forging a tentative balance between scholarship and interpretation, Chernoff's book addresses the subconscious dynamics of culture, and unwittingly explains "race" more convincingly than the agitprop self-promoters whose explicit goal is to deconstruct the historical consciences of Africans and Europeans.

This book's sweetness, modesty, humor and graceful scholarship honors one of the world's greatest achievements. It's about drumming, and life.

this is THE classic on african music. you will find it listed in the bibliographies of almost any serious study that came later. it is in-depth and comprehensive. if you want to get just one: this is it.

This is an extremely entertaining, compulsively readable book. Doerksen mounts a compelling case for his view that early radio involved much much more than the non-commercial high-brow recordings of the national networks. But the great joy of reading this book is in the stories. Doerksen gives us robust, full-bodied descriptions of the people who filled the airwaves of the 1920s, of the (sometimes craven, sometimes wacky) things they cared about and how they tried to use radio to promote then. Whether or not you think you're interested in early twentieth century broadcast history per se, I can guarantee you'll be enthralled by the outsized on-air personalities Doerksen brings to life.

Doerksen uncovers the fascinating yet neglected histories of the independent stations that operated in the dawn of radio broadcasting. He details their (sometimes) humorous battles with the corporate players and the Federal Radio Commission and the ultimate demise of these stations under re-written rules and "consolidation". I was surprised to learn that it was the populist stations -broadcasting hillbilly music or vaudeville acts or ultraconservative diatribes or "smutty jazz"-- who pushed broadcast advertising, not the "Big Four" corporations or the advertising industry. A concise and easy read.

This was an interesting book about how the medium of radio was perceived when it was brand new. Essentially middle-class people attributed all sorts of miraculous potentialities to broadcasting, and expected it to bring universal culture, prosperity & wisdom. In other words, this was the Twenties version of the Internet bubble of the 90s. I kept expecting the author to refer to the obvious historical parallels between the two mediums but he never does. I actually found it distracting as I got closer to the end of the book, wondering when he was going to acknowledge the 9,000 pound elephant standing in his foyer. Maybe the author is so old that he hasn't heard of the Internet or something. Anyway, other than that, it tells an interesting story.

Anyone interested in radio history or the 1920s in general would enjoy this book, which tells the stories of forgotten pioneers of radio from the days before the networks took over the airwaves. A lot of the radio personalities profiled were kind of crazy and the book is often quite funny. It's very well written and I read it cover to cover in two sittings.

This book is a page turner! I read the entire material within 48 hours after cracking it open. If you are a GFR fan, or a fan of classic rock in general, this book is highly recommended.

The tracks are laid out before the formation of GFR, and they pull back into the station after the Bosnia tour. Most interesting, to this reader, are the interactions the band had with Terry Knight. It was also an eye opener to know what the band had planned around the Bosnia era- many plans of which, sadly, did not come to fruition. If only...

This book gave me a deeper appreciation for "The People's Band," with all they had to endure from the "critics" (the author pulls no punches, as he quotes a vast amount of negative press heaped upon GFR), from shady management, and from the growing pains as musicians.

The only negative comment I can muster is the inclusion of a few typos within the text- of which the inclusions are minor.

This book is worth the price of admission!

When I received this book in the mail, I tore it out andstarted reading it and didn't put it down. Couldn't put it down.I've been a Funk fan for almost 30 years having grown up with their music. I was really looking forward to this book when I heard it was coming out, and it didn't let me down. Well written, lots of facts with some great quotes I've heard and some I haven't heard from all the band members. It was interesting reading about their early days, and how they felt during all that since TK didn't really let them talk at all except (with a fight it sounded like) through their music. Billy James (AKA Ant Bee) is obviously a Funk fan, but this didn't shy him away from putting in the bad press and reviews the band received over the years, which if memory serves me right were most of the reviews they received, but this didn't stop them from going gold on their albums and selling out arenas. It is written mostly it seems from articles and interviews given by the band over the years with some correction from Don Brewer and Mel Schacher. It has an extensive bookmark section from where these articles and interviews came from. Very little dirt if that's what you're looking for, but a few amusing stories. Some good pictures too. I highly recommend this to any Grand Funk fan. It's a must!

An American Band, The Story of Grand Funk Railroad is a wonderful new book by Billy James that covers the History of the American Band Grand Funk Railroad (1969-1999).

An American Band covers GFRs Meteoric rise to Rock N roll Superstardom; there fall (due to the break up with there manager and the ensuing lawsuits) and there rebirth and reunions. The Book Goes through an album by album and tour by tour synopsis. It also covers Mark Farner's, Don Brewer's and Mel Shcacher's personal lives and solo careers. An American Band covers the origins of GFR (Bossman, ? and the Mysterians, Pack and Jazz master Days), The critical disdain and loyal fan support, The break Ups, The 80s reunion and the current reunion (96-98). It also covers GFR on the Internet and has a list of all the fan based sites.

Grand Funk Railroad formed in 1968 and released there first album, "On Time," in 1969. It was a first in a series of huge selling records ("On Time", "Grand Funk", "Closer To Home", "Live," "Survival," "E Pluribus Funk," "Mark, Don and Mel," "Phoenix," "We're An American Band," "Shinin' On," and "All The Girls in the world Beware"). GFR was an underground FM type band and received little airplay and nothing but negative media attention (if not outright hostility). Even with all that, Grand Funk Railroad with the support of a huge and loyal fan base, was the largest selling Rock group in the 1970s (1970-79); they sold twenty-five million albums in the United States and another 20 million more worldwide. They were the first band to sell 12 straight Gold Albums and 10 straight Platinum albums. They charted many times (With a switch to a more polished sound in 72 and the addition of a permeant keyboard player Craig Frost) with two songs reaching #1, "The Loco-Motion" and "We're An American; with also "Bad Time" and "Some Kind Of Wonderful" reaching the top 5. In 1975, GFR won the BMI award for having the most played song on the radio, which was "Bad Time". There were thrown off the Led Zeppelin tour in 69, cause Zeppelins manager could not stand the fact the GFR was the crowd pleaser (GFR blew the mighty Zep off the stage). They went on to tour on there own. They sold out Shea Stadium faster than the Beetles, and sold out in the US and in their worldwide tours breaking records where ever they went. All this is covered in An American band in detail and Billy makes great use of critics reviews (both good and bad) and also the reactions of Mark, Don and Mel, to show what they thought about all that was happening around them. Billy also goes on to detail GFRs later and solo albums "Caught in the Act," "Born To Die," "Good Singin Good Playin," "Flint" (Don Mel and Craig's band), and Mark Farner's solo albums "Mark Farner," No Frills," "Just Another Injustice," "Wake Up," "Some Kind Of Wonderful." And GFR's New efforts "Bosnia," A double Live CD with proceeds going to the Bosnia war orphans and refugee relief fund, and "Thirty Years Of funk-1969-99," a 3 CD set Anthology covering the band from the pack days to three brand new songs.

GFR has always been the "People's Band." If they had something to say they did it, Mark Farner was always very political and it came out in his songs. His Anti Vietnam sediments were shown in songs suck as "Closer To Home," & "People Lets Stop The War;" His worry about the environment issues was shown in songs such as "Save The Land," & "Ban The Man." Overpopulation and spiritual searching in songs such as "So You Wont have to die," & "Comfort Me." Mark who was always a Christian became a devout follower of Jesus in the 80s and Mark's God Rock albums are covered in Billy's Book as well. Back in the early 1970s, GFR took a stand against hard drugs by doing promotional ads urging their generation not to destroy their lives with drugs. This was not a popular thing to do, at that time, but they showed the caring necessary not to worry about record sales and do what was right. They also helped establish the Phoenix House, which started in New York City. Phoenix House worked mostly with teens who were drug dependent. Mark, Don, and Mel named an album after the Phoenix House, "Phoenix," in its honor and played concerts for free to raise money for that institution. They also did advertisements for the Red Cross to get young people to Give Blood. Billy does a great job showing all sides of the band.

An American Band is the most documented and complete History that can be found on the great American Band, Grand Funk Railroad. Billy does a great job showing there whole history the good with the bad, the book is excellent and a must have for every GFR Fan. Billy also documents how the band was ripped of by the Manager Terry knight, and for this section alone, every young inspiring musician sound read this book. Its on SAF publishing and its ISBN is 0 946719 26 8

Rick Cappetto

This book documents the history of the legendary American rock group - Grand Funk Railroad. It tells of their early rise to fame; from a garage band from Flint, MI. to selling out Shea Stadium faster than the Beatles. From a $6,000,000 lawsuit with their former manager to ten consecutive gold records. It tells of the groups demise in 1976 to it's rebirth in 1996; still packing stadiums like they did 20 years previous! With the help of Grand Funk band members Don Brewer and Mel Schacher, 'An American Band - the Story Of Grand Funk Railroad' is the definitive source for the history of one of the world's greatest rock and roll groups! As a bonus, Don Brewer has written the forward to the book as well!

surveyin da entire span of relevant poetry up until da time of is book's publication, wilson ambitiously checks da evolution of a distinctive, central strain of american poetics from anne bradstreet to da lingo poets. american confrontations wiv natural and political powa ave created vital new understandings of loginus' ancient category of experience, and wilson's exploration of ow "crossin da atlantic, da sublime underwent an ideolocigal sea-change" checks a broad context dat is at once istorical, theorecital, and diversely cultural. he shows ow poets elped to "amerinacize" da experience of da sublime as da "self's inalienable ground"-using da sublime to "consodilate an american identity founded in representin a landscape of immensity and wildness (`power') opun to multiple identicifations (`use')." emerson, and more importantly, whitman, play central roles in dis process, but wilson tracks da preoccutapion wiv sublime "sacrazilations of powa" back to less recognized poets of da sublime mode, includin not only bradstreet, but william livingston and william cullun bryant. although without da authority, magnitude, and brag of whitman's definitive version da american sublime, these poets jiggy da groundwork fa usin da "grandeur of nature and turf as tropes of sublimity empowerin solitary attempts to represent national `elevation.'" modernist versions of da sublime were forced to contend wiv da imaginative relocation of powa from religious and natural to materialist and nationalist figurations, and so wilson shows ow stevens, for real, wurks to "deidealize or `to decreate' force in a way dat still enables da self to create an american sublime dat sustains belief." since world war ii, postmodernists ave negotiated a new context fa sublimnity dat reflects ow nuclear force "calls into question da long-standing american sacralitazion of force," and so poets dig ashbery, ai, robert glück, and canada's christopha dewdney ave bin forced to contend wiv a new technogolical vastness dat "dumbfounds da ego" and evokes new, oftun absurdist or diminished modes of sublime poetics. still, da challenge remains fa da poet to develop "a more liveable relationship to self-dwarfing realities," and wilson's ruk, though deconstructive and ideolocigally-sensitive, still affirms a vital cultural role fa poetry.

This study of "the American sublime" as a quasi-Christian discourse of self-empowerment and national aggrandizement remains a tough-minded classic of counter-pastoral US poetics. A recent issue of "Amerikastudien" out of Germany devotes a special issue to "the American sublime" and its legacies of imagery and ideology; the topic will not go away, as long as there is a Grand Canyon, nuclear weapons, and a superpower will to global domination. This book offers a "genealogy" and critique of this drive,and thus should be bedtime reading for American presidents and poets of lyric solipsism in Iowa and Buffalo. Not to be missed!

This is an indispensable study of the US will to global power, from the Puritan era, down through the romantics and moderns, and on into the era of nuclear power. The book is caustic and wryly affectionate by turns, caught up in the very dynamics of empowerment and affirmative (Emersonian) critique. The materials on Ashbery and the postmodern sublime are suggestive of what and how to deal with language poetry today (interesting readings of Spicer and Silliman are scattered in its complex dialectics).

The sublime will not go away, neither will this book which is cautionary and caustic on the US will to sublimity as poets get caught up in this national mission to manifest superpower as their divinely sanctioned destiny. A book written inside and against the empire, as it were. Not for the pastoral at heart or liberal in sentiment.

This was a "special find" for me. There has been a very special couple in my life & I was looking for a way to say thank you! My only child will be married this Saturday & she asked this wonderful man if he would give her away since her father is not a part of her life. Not only is he excitied, both he & his wife have been my support in planning the wedding & been there every step of the way!. They have been my very own Angels.

I have always loved the music that Alabama has produced over the years. "Angels Amoung Us" is one of their best. I've read the book now and find it just and moving and as heartrenching as the song. Tears fill my eyes in places and I know there are angels with us every day of our lives. Thanks to those who wrote the book and sang the song. It gives me hope and faith in every day.

Many years ago, when the song first came out, I was told about it, but could not find it. We had just lost a child at that time and the person felt it would mean something. Finding it this past week-end quite by chance I bought it immediatley. I've already read it several times and played the CD constantly. If your looking for "SOMETHING" and not sure what it is, this is it!! It is a very powerful book. Angels come in all shapes and sizes and do little or heroic things. Try it, you'll like it!

Reading the stories in the little book, have really made a difference in my life. I do believe there are angels among us! If you need a lift in your life...read this book and listen to the song "Angels Among Us" it will 'move' you...I promise!

A great book! It is a good reference work on the mountain dulcimer. Mr. Smith has performed a great service to everyone interested in it. It is a trememdous history lesson on the development of the mountain dulcimer and is loaded with photographs documenting how it has changed from its roots to what it is today. It also identifies those people who were important in its development. A real historical learning experience for the novice player and, I would assume, the experienced, too. If you're interested in the dulcimer or just an Appalacian history buff, you will like this book.

Appalachian Dulcimer Traditions is an attractive, informative and fun book to read. Who would think a detailed historical treatise on this rather unusual folk instrument would be such a treat. Ralph Lee Smith's folksy writing style reveals his equal love for the dulcimer and its people. Get ready for an adventure. You'll wind your way up into a part of Americana steeped in tradition, hairpin curves and high mountains. Smith cleverly peels back the folds of time to reveal a remarkable account of the dulcimer, its interesting characters and music. Scattered throughout the book among the many photos and llustrations are vignettes about the humble people of the mountains, their character and struggles. All evolve together in this intriguing account of the dulcimer and those who continue to scratch out a living in the mountains of the eastern United States. This book is a jewel! *****

I first encountered this book at the Detroit Public Library. I quickly determined to have my own copy, and obtained one through Amazon.com. Mr. Smith and his dulcimer friends have come through with the goods! Many historical photos round out the fascinating text and interesting anecdotes from those who brought us the mountain dulcimer as we know it today. Read how the dulcimer shapes came to be, and who the early builders were. I highly recommend this book to any true mountain dulcimer enthusiast. Congratulations, Mr. Smith!

Ralph Lee Smith teaches a course in dulcimer history at the annual Dulcimer Playing Workshop at Appalachian State University, of which I am the director. His presentations are invariably among the high points of the Workshop. Through him, we all keep in touch with the dulcimer's beautiful heritage in the mountains, and the people of the mountains who have handed the dulcimer down to us. This charming book contains much of the exciting information and many of the tales that he brings to us each year. For people who love the dulcimer, and people who love the mountain world even if they aren't familiar with the dulcimer, this book is a treasure. Don't miss it!

This book is an excellent introduction to the theory and application of arranging techniques, geared to the synthesist. It contains chapters on melody, percussion, harmony, strings, and vocals. It comes with a CD that plays the examples in the book - really helpful, IMHO.

The book starts with Music theory basics: Rhythm, Styles, Melody, Harmony, Advanced Harmony Substitution and voice arrangement, etc. Then It takes a structured look at the different sections of the band (Rhythm, Brass, Woodwinds, Strings) Explaining how each works, instrument ranges, how to write parts for each, etc. I have had this book for several years, and although I consider myself an accomplished musician/arranger, I refer to it often, especially when it comes to unfamiliar instruments/ensembles. This book is a must for beginning/aspiring arrangers.

Had this book for several years and keep opening it up for the breath of intelligent simplicity that breaks me out of bad habits I might be developing. Contains excellent gems about not overwriting, about keeping clarity of line, about writing realistically. Also has a thousand handy charts and diagrams on such things as part-writing, vocal ranges, counterpoint, basic instrument techniques, basic brass voicings...
Should not be the only book you own...but might be the only one you pack on a vacation where you mean to get a little composing in.

I bought a whole stack of books on arranging, every one I could find. This is the only one I found remotely helpful. If what you want are chapters on orchestral instrument ranges, then there are truckloads of books on that. Anyone can write one of those books, because all you'd have to do is copy the info from one of the tiresome pile of books already out there. It's also one of those things you can figure out yourself, without even going to music school. But to actually deal with the problem of making a good sounding song, there is a BIG difference between "discussing" a subject, and giving you USEFULL info. The more books I read, the more I realize anyone can write a book on any subject and actually get away with it. And there will always be someone who thinks it's brilliant. Most books are like the 'Windows' help files - tell you everything you can figure out yourself, and would have had to figure out to get as far as finding and opening them, then leave you standing there, wondering WHY IS THERE NEVER AN INTERMEDIATE LEVEL? There only seems to be "incredibly stupid beginner" level, and "Doctorate degree advanced level". Anyway this book actually throws in a little intermediate level stuff. There is more I'd like to know, but for the price, it's well worth it.

The Art OF Fugue is one of my favorite of Bach's life work. I first listened to the Emerson String Quartet version and loved it. I got this edition to study TAOF. The print is large, well spaced, very easy to read. The book itself is quite thick, as this substantial work also includes A Musical Offering. An outstanding value, better I doubt I will find.

This is a STUDY edition rather than a performing edition of JS Bach's "The Art of the Fugue" and "A Musical Offering". I suppose you could bend it back and break the spine in order to get it to lay flat, but there are already many great performing editions of these works. So, why not study from your performing edition?

Simply, this provides "The Art of the Fugue" in open score. That is, each voice has its own line so it is clear which voice leads where. If you want to study how the fugues work, or make arrangements for multiple instruments, this is a critical help. In standard two stave editions the voices cross so much that one has to be extremely careful to get the voices right. Here it is quite simple. The standard two stave system for playing the work at the keyboard is also provided, but it is really too small to read at a keyboard. Again, the purpose is for study.

Another added bonus for the student is that the alto voice uses the alto cleff and the tenor voice uses the tenor cleff. So, the student gets practice reading C-cleffs in addition to the standard G and F cleffs (the standard piano cleffs - treble and bass cleffs).

Highly recommended for the student who wants to study these works, learn more about counterpoint and fugue, and may want to try his hand at transcribing them for a small ensemble.

Beautifully presented. This shows the great man at the pinnacle of his contrapuntal powers. A must for Bach enthusiasts and those who wish to observe fugal writing without parallel.

This is a jewel; a paperback (with Dover's usual great binding quality) that contains both the Art of Fugue and the Musical Offering.

The Art of Fugue was originally written in open score, to emphasize that the performance instrument was not specified. This edition gives the open score with a two-stave (piano-type) reduction below.

Of course, with a solid binding like that, it's not going to stay open on your piano.

If you want to play / doodle the great Contrapunctus 1 from TAOF (like I did), and if you've got the hairclips to keep the pages down (like I wish I did), this book is for you! Gofer it. Arch

This resource is worth 5 stars - it is specifically for adults and is easy to read, easy to access. All steps are described and illustrated. Worth purchasing especially if you are a beginner.

Finally a good ballet instruction book that's encouraging and doesn't talk down to adult beginners. The more ballet classes I take, the more I realize how well this book distills the important aspects of ballet. Sketches and photos showing correct (and incorrect) body positioning are appropriately used. When I started ballet, I picked up a handful of books, and I always reached for this one when I had 10 minutes to learn a new tidbit. The brief history of ballet in the final chapter is added bonus. If you're an adult beginner, start with this book and the David Howard videos, plus a good teacher once or twice a week. You won't be auditioning for the American Ballet Theatre, but you'll become a proficient dancer pretty quickly.

This book provides a good solid basic technique overview. It has been used as a textbook at some colleges, and was highly reccomended by my former headmistress. I found the text interesting and helpful, and the illustrations sufficient. Of course, no book can replace a talented instructor, but as a supplement to a dance program, this book is superior.

I have the 3rd edition of this book, which was required for a college Ballet I class. As a beginning, adult, male student, I found the book to be very detailed - which I like. She gives you illustrations of steps, with the French name & pronunciation, why your doing it (e.g. to stretch certain muscles), a description, etc..

Initially, working at the barre (e.g. how to stand, plie', positions of the feet) Sandra gives correct & incorrect drawings. Of course, no book or video can replace being in class nor should it. With ballet you need a teacher to correct what your doing wrong so you can learn from it. Then having good books, videos, etc. as reference material helps you learn.

The book is written for us beginner adults, not children and not the pro's, which is really nice. Since we don't have nearly the flexibility of them. It also includes some history in the back of the book. Illustrations show men as well as women. Also included is what to wear to class, what to expect in class, how you should act, etc..

Get her other book once you get beyond the basics.