Cultural Books

I shall add little to the other reviewers of this extraordinarily fine account of the history of Indian (particularly North Indian) music and how it was introduced to Western ears and influenced modern popular and classical musics. I will instead say that having myself lived that history--being exposed in 1955 to the first LP recording of Indian Music and watched Ali Akbar Khan on CBS Sunday's Omnibus, having been among the first to purchase the World Pacific and Prestige recordings of Indian musicians, having attended numerous concerts of Ravi Shankar and Ali Akbar Khan, Bismillah Khan, Jasraj, Shivkumar Sharma and other Indian masters, and having become a Friend of the Ali Akbar College of Music, where I met John Handy, Terry Riley, and Ravi Shankar, as well as having followed the influences and explorations of Indian modes and rhythms in classical music and rock as a Bay Area academic hippie--I can attest that this book is amazingly well researched, comprehensive, and gets it right. Indeed, through the many insightful interviews, we go well beyond the mechanics and structures of musical infusion across cultures into the realm of spirit, humanistic motivation, and metaphysics. For instance, Mickey Hart's interview expands and details his own previous accounts of his and the Grateful Dead's musical transformation by interactions with Shankar Ghosh, Alla Rakha, and Zakir Hussain (a two-way street for the latter). Other useful interviews are with (from the classical world) Philip Glass, Zubin Mehta, Terry Riley; (from the Indian tradition) Ali Akbar Khan, Zakir Hussain, Anoushka Shankar, Tanmoy Bose, George Ruckert, Shubhenra Rao; (from jazz and rock) David Crosby, John McLaughlin, Cheb i Sabbah. But the interviews are only spice to the meat of the text, which explains the uniqueness and detail format of Indian music, supported by a glossary, and the origins and construction of the various instruments. When our world is plagued by fear and misunderstanding of other cultures, music arrives as a source for common ground. This book demonstrates its power and its promise.

Musician and author Peter Lavezzoli presents The Dawn Of Indian Music In The West: Bhairavi, a history of the recent yet amazing infusion of East Indian classical music into western culture. Though Indian music was largely unheard of until 1955, when Ali Akbar Khan issues an LP called "Music of India: Morning and Evening Ragas", its appeal steadily gained ground, to the extent that Indian and Western disciplines began to borrow concepts from one another to aid in composition and training. When "Music of India" was re-released as a compact disc in 1995, it won a Grammy. The Dawn of Indian Music in the West follows the influence and impact of Indian classical music in extensive detail, meticulously researched and presented especially for intermediate to advanced music scholars and theorists. Highly recommended especially for college library and music reference shelves.

Among the many thought-provoking quotes in Peter Lavezzoli's new book is this one from tabla player Tanmoy Bose. "If you talk to any music lover in the West, they know more about [Indian music] than Indians ... they have a thirst for it, and they are very critical in the West for that reason." At first, I was tempted to reply that these Western fans are so enthusiastic because they (we) are such a small minority. In India, interest in Indian classical music runs the gamut from devotion to mild interest. There is, for example, a sense of national pride that makes Indians feel they ought to like classical music even if they don't. In the West, you are either a devoted fan or completely ignorant on the subject, and it often seems to us that all the devoted fans are gathered in the Bay Area. However, Lavezzoli paints a significantly different picture, arguing quite convincingly that Indian music has deeply influenced both American and European music for over half a century.

Peter Lavezzoli's first book, "The King of All, Sir Duke," took a controversial approach to biography. He devoted relatively little space to Duke Ellington, the book's ostensible subject matter, and instead wrote about Ellington's influence on other prominent musicians (including Frank Zappa, Stevie Wonder, and George Clinton). His newest book, "The Dawn of Indian Music in the West: Bhairavi," follows a similar format, but it is not a story of one musician's impact on other musicians. It is the story of the influences of one entire musical culture on another, and the tracing of those influences from connection to connection is the perfect format. Lavezzoli's goal is to document every aspect of that impact with interviews and historical summaries. The result is a long and engrossing read, full of remarkable anecdotes and thoughtful discussions with some of the most important creative people in many different Indian and Western musical domains.

About a fifth of this book will probably produce a sense of déjà vu for regular readers of this magazine. There are detailed interviews with many local artists, including Cheb i Sabbah, Ali Akbar Khan, Zakir Hussain, Terry Riley, George Ruckert, and Mickey Hart. If you know little or nothing about these people and their music, you get all the introduction you need. But no matter how much you may think you know, Lavezzoli has new information for you. Those of us who live in the Bay Area know that there are lots of Americans and Europeans who have carefully studied Indian music. But Lavezzoli shows us who was first, where they did it, and how things developed from there.

The book is subtitled "Bhairavi" because the first significant musical contact between Indian and Western classical music was a recording of that raga in 1955 by Ali Akbar Khan. Bhairavi is also a morning raga traditionally played to close a concert that has gone on past midnight, so Lavezzoli also uses the word as an allusion to the "dawn" of Indian music. This recording was the first 33 rpm long-playing record of Indian classical music. Prior to this, the only recordings of Indian music were 78 rpm records, which had poor sound quality and lasted five minutes or less. This was also the first performance of Indian classical music in the West, except for an unrecorded concert at Columbia University by Inayat Khan. (It is a tribute to Lavezzoli's thoroughness that what little is known about that Columbia concert is in this book.) The Bhairavi recording included a verbal introduction by Yehudi Menuhin, who had discovered Indian music while touring India. Menuhin's endorsement helped to convince his colleagues that this music was a serious disciplined art form, not an exotic ethnic curiosity. Lavezzoli has some interesting parallels between the harsh pedagogic methods used by both Indian gurus and Western conservatories, which justified labeling both traditions as "classical."

There were, however, parallel influences occurring in rock and jazz, spearheaded by George Harrison and John Coltrane respectively, who were both great admirers of Ravi Shankar. Rock and jazz musicians were attracted not only by the complex use of rhythms and microtones, but also by the freedom to improvise, and by altered states of spiritual consciousness. These musicians usually associated altered states with drugs, creating a controversy that endures to this day. For most Westerners during the 1960s, Ravi Shankar's sitar was the soundtrack for drug experiences. This was a serious misunderstanding: Shankar did compose scores for psychedelic movies like Chappaqua, but he also insisted that his audiences not use drugs. Lavezzoli asks almost all of his interviewees about drugs, and discovers a spectrum of opinions that reveal another great contribution of Indian music to the West.

Western music had fragmented into two conflicting elements: the emotional drug-tinged intensity of improvised jazz and rock, and the tightly controlled intellectual discipline of European classical music. Because Indian music had never separated emotion and thought, it could show Westerners how to reunite them. It challenged rock musicians to acquire discipline, enabled jazz musicians to see their improvisation as a spiritual practice, and reminded European classical musicians that music is not just marks on paper, but is played by a musician, and heard with the ears. Sometimes Western musicians tried to capture the mood of Indian music with little awareness of technical details. Other times, they took Indian techniques and reworked them to create very different moods. But Lavezzoli shows us that all forms of Western music now have a healthier relationship to each other, and to the rest of the world because of the Indian influence. Perhaps in the new millennium, there may even be Westerners who will be great virtuosos of Indian music. Will this music then still be Indian, and will its players still be Westerners?

This historical study is full of detailed information about a disparate collection of the most inventive musicians of the 20th century, all drawn together by the thread of a fascination with India. The book gives equal attention to legends like John Coltrane, and more marginal avant-garde figures like Don Cherry, John Mayer (of Indo-Jazz Fusions), and John Handy. It also refers to rock stars like David Crosby, and contemporary classical composers like Philip Glass. Each musician's biography is woven into the text, so the entire book (nearly 500 pages) gives you an intense impression of the deep spirituality of this generation of musicians.

Peter Lavezzoli is a very astute critic of the key albums of this movement, and I learned a lot from his detailed discussion of Duke Ellington's "Far East Suite," Coltrane's "India," and Don Cherry's "Mu." When reading this book, you really feel you are being guided by someone with a highly developed intuitive feel for integrity and truth in music, as he himself is a musician who is concerned, as he admits, with "the connection between musical and spiritual expression."

In this book, historical narratives are interspersed with interviews with the leading musicians in Western and Indian music, such as Terry Riley and Shujaat Khan. These interviews are not your average magazine interviews, however, as the central concern of Lavezzoli is always wisdom, and his questions are always subtle and searching. If you glanced at this book, you might be put off by the way the text is crammed on the page, the lack of margins and smallness of type making it seem somehow a hurried book or not carefully thought out, but do not be deceived by bad design--this book is a true labour of love. It will inspire all musicians to take their work on to the next level, and it will inspire all record collectors to rush out and get hold of Alice Coltrane's "World Galaxy."

This is a fantastic book for many reasons; Peter Lavezzoli has done an amazing amount of research, delivering a lovingly written treasure trove of well-rounded details that will interest music enthusiasts from many different schools and tastes. Fascinating connections are drawn from the histories and influences of Indian music on rock, jazz, western classical and more. Included are vivid chapters on the pivotal history of Allauddin Khan, teacher of Ravi Shankar and the father and teacher of Ali Akbar Khan; Yehudi Menuhin's discovery and presentation of Indian music to western audiences (he is pictured with Ravi Shankar on the cover); the fabulous chapter on George Harrison; and a powerful section on John Coltrane, to name just a few personal favorites, with numerous connections to Ravi Shankar, who is widely referenced and featured (in too great a depth to summarize in a brief review).

A good portion of the book features the musicians and associates themselves having their say through remarkable interviews with Ali Akbar Khan, Mary Johnson Khan, Mickey Hart, Zakir Hussain, Jim Keltner, Terry Riley, Cheb i Sabbah, Zubin Mehta, Anoushka Shankar, Ravi Shankar, Tanmoy Bose, John McLaughlin, Bill Laswell, Shujaat Khan, George Ruckert, Shubhendra Rao, Suskia Rao-de Haas, David Crosby, Roger McGuinn, and Philip Glass. The author asks good questions and gets rich answers, making for a highly enjoyable reading experience.

This is a book I can spend hours re-reading. I've learned enormous amounts about a wide variety of music forms within each chapter. Readers with virtually any level of music interest will find something of value here. A real stunner! Highly recommended.

One day, it begins to rain hearts, and young Cornelia Augusta begins to catch them. She realizes that these hearts would be great for making valentines. We watch her think of many different kinds of valentines, and think about who each one would be perfect for. What I love about this little book is the thoughtfulness Cornelia Augusta demonstrates, customizing each gift to please a particular friend (and the friends all turn out to be members of the animal world!). My young daughter enjoyed figuring out who each valentine was for and why. Very cute!

A wonderful and cute story. Short in length and great for younger children (ages 2-4). Definately recommend.

My mother bought this for Valentine's Day this year for my, then 2.5 year old, boy-girl twins and my kids love this book. It is May and we still read this book at least once a week.

The fact that little Cornelia looks at each heart and creates a special valentine card that matches the heart and the recipent shows thoughtfulness. I also liked that even though it never rained hearts again Cornelia wasn't disappointed or sad, but knew what to each Valentine's Day after that.

Our book also came with a page of stickers based on the illustrations in the book.

My six year old took the board book version of this book out of my hands. I meant to read it to my two year old son. Instead,
my first grader was enthralled with the illustrations, the story and the name of the loveable protagonist "Cornelia Augusta".

I especially enjoyed how ALL the rainbow hearts Cornelia Augusta catches are ALL different so she can craft personalized, different Valentine's for each recipient of one of her precious gifts.

The story is also a very opening one: there are always ways to create... no matter what the medium, what the celebration, whether the people are together or apart.

Also, I think the 3-5 year recommendation is a bit young. My 6 year old really enjoyed it as well, the language was perfect for a first grader.

It rains an abundance of hearts one day and
Cornielia Augusta catches them and brings them home and figures out who she wants to make things for.

She makes a necklace by stringing them together, then cuts holes in one and as the story goes on, the children try to guess who she made the valentins for.

It is simple and cute and give the children ideas about doing nice things for their friends.

ellen

This book covers the changing styles and images from the 1890s thru the 1990s. Each section covers the life & times, faces in vogue, film and media, fashion, hair and hats, cosmetics, body shape and underwear, and work and play for a particular decade. Filled with interesting facts and tons of photographs, this makes the perfect addition to the library of anyone interested in fashion, cosmetics, or history! Fun and unique!

A nice collection of fact & photos on the beauty industry. Contains information on styles of each period--including the impact of film! I thought the 1920's invention of "twist-up" lipstick & the use by flappers was a hoot! Pick this book up & grab another as a gift!

Don't be to eager to dismiss this book as superficial, for females only or aimed at the fashion/ art set. It is a well researched and knowledge packed directory into the ploitics and social history of fashion and beauty, throughout the entire 20th century.
It would be of immense value to students of 20th century history, women's studies as well as an invaluable and pictorial journey for children exploring the recent past.
The layout is well structured and the photography, art and fashion plates are breath taking.
Even if just a coffee table book, it's far more engaging than the average trendy photo album.

Decades of Beauty is both an excellent pictoral as well as literary history of beauty through the decades. Great pictures that have not been often seen showcase the fashion fads of each era along with the fashion icons who are responsible for that decade's fashion hype. I loved that this book also gave equal space to the history of cosmetic beauty through the years. Its fascinating to see what type of makeup each generation "had to have" along with the "hippest" hairstyles of the day. The contents are easy to read and allows one to pick and choose a decade of interest without having to read the book start to finish. I highly recommend this book to anyone who is a cosmetic junkie, fashion obsessed, or just a history buff. This would also make an excellent gift for those in the beauty industry. Enjoy!

I purchased this book a year ago and read it from cover to cover the day it arrived. But I find myself picking it up and flipping through it every now and again. I love the fact that the authors wound in all kinds of fascinating pop culture trivia along with fashion history. I learned all kinds of amazing things -- like the fact that Elizabeth Arden brought out a velvet gas mask during World War II and that someone actually saw fit to bring a bra to market that could be inflated by blowing into a straw. This book is very fun reading indeed. It's also a gorgeous coffee table book. Highly recommended.

The book is OK (like any book, I guess), but Ibn Warraq is way too serious about the subject, in my view. It is understandable, considering the impact of Said's "scholarship".
But, still, Edward Said is not an "intellectual terrorist". I think there is a difference between terror and pogrom. To call Edward Said a terrorist, or an intellectual, would be as ridiculous as to call Trofim Lysenko a scientist, or a biologist. Terrorist have to hide his intentions. Pogrom is done with a certain assurance of impunity. That's exactly what Edward Said have done.
I guess there is some point in refuting Said's ravings. But overall it looks a little bit odd: really, if you are normal, you wouldn't go to a clinic for mentally ill for some quarrels or intellectual discussions. There are doctors or nurses for that.

Ibn Warraq, author of other brilliant and explosive books such as Why I Am Not a Muslim finally deals the death blow to Edward Said's mythmaking Orientalism (Penguin Modern Classics).

It is a needed critique because so many in the academy have been seduced by Mr. Said. Edward Said was a Anglican Arab raised to an upper class family that lived the life of the jet-set, travelling back and forth from mansions in Egypt, Lebanon and Jerusalem. Said, after his upbringing that included Armenian and Jewish servants, went on to claim that the west was racist for daring to write about the history of the 'East' from a western perspective. He claimed that only Muslims could tell Muslim history and only Arabs could write Arab history.

Warraq shows that not only was Said wrong in asserting that western portrayels of the 'east' were racist, but that in most cases the west romantisized the east and accepted it and learned from it. This is most true today when most western scholarship never critiqus the Koran or the 'east' but instead accepts all the myths it has itself created. This incisive and wonderful book dares to break down these myths and explode them.

Seth J. Frantzman

DEFENDING THE WEST: A CRITIQUE OF EDWARD SAID'S ORIENTALISM is the first in-depth critique of a work that for three decades has received nearly unanimous recommendation and discussion. Said's thesis was that the Western image of the East was biased by colonialist attitudes and racism: this reconsideration offers a powerful rebuttal to college-level audiences, surveying misinterpretations in Said's original survey of scholarly literature and providing college-level collections strong in history and culture with a fine reinterpretation. Collections housing Said's work need this rebuttal.

For 25 years, many leaders and candidates have accepted the willful misinterpretation of Western history instigated by Columbia University's infamous late professor, Edward Said. Western civilization could greatly benefit if current presidential hopefuls read this bromide of a book, identifying the damage Said caused---and providing a curative.

Politicians here gain a yardstick to measure Western cultural grandeurs (including intense self-criticism)---compared with ongoing social dysfunction, disintegration and horrors over 1,400 years of Islamic history.

Colleges requiring students to read Edward Said's Orientalism should also require this 24-karat tome, rebutting Said's flawed evaluation of the West---what Ibn Warraq identifies as inadequate methods, incoherence, tendentious interpretations---and amusing, but dangerous "historical howlers."

He credits Said for courage and self-criticism---in disparaging Arab writers insisting "the Jews never suffered..., the Holocaust is an obfuscatory confection created by the Elders of Zion," or supporting criminal French Holocaust denier Roger Garaudy.

But Orientalism's "pernicious influence" made Arab and Muslim self-examination---especially criticism of Islam within the West---nearly impossible, Ibn Warraq shows; it "taught an entire generation ... the art of self-pity," blaming all Arab and Muslim miseries on "wicked imperialists, racists and Zionists" whom Arabs and Muslims almost universally blame for their failure to reascend.

Alas, Said neglected historical Islamic imperialism---from Mohammed's invention of "one true faith" through the 17th Century, with reprises whenever wealth, time and war materiel sufficed. Petrodollars fueled the recent Islamic renewal of this effort---via "modernized" Muslim Brotherhood ancient Islamic strategy, supremacist jihad---and aggressive 21st century financial jihad through "shari'a finance."

Terror-advocating "experts" like former Pakistani Shari'a Court jurist, Taqi Usmani set Islamic banking standards for the MB construct that was established to promote Islamic supremacy. Usmani serves on the shari'a board of Saudi Arabia's terror-funding Dallah al-Baraka; in July 2007 he advised U.K. Muslims to live peacefully only until they acquire military strength to "establish the supremacy of Islam." Syrian Abdul Sattar Abu Ghuddah is a senior-level advisor to al-Baraka.

Christian, and not an Islamic scholar, Said nevertheless "bludgeoned into silence any criticism of Islam"---adding late-modern inadmissibility to ancient Islamic shari'a tradition: Muslims (or non-Muslims) criticizing Mohammed or Islam are guilty of blasphemy, punishable under Islamic law by death.

Ibn Warraq shows innumerable Western to Islam. Egyptian novelist Naguib Mahfouz avowed, "Napoleon's campaign" ushered Egypt from "centuries of obscurantism" into modernity, including discoveries of pre-Islamic Egypt, which now anchor Egypt's tourism.

Said held, "the Orient was viewed as something inviting French interest, penetration, insemination--in short colonization...." He ignored the German, Russian, Italian and Western Jewish scholars who created Islamic, Middle Eastern and Arabic studies, thereby gutting his thesis.

Ibn Warraq finds Westerners and Western history and thought characterized by "three tutelary guiding lights,"--rationalism; universalism; and self-criticism. Pursuing truth and knowledge, Westerners accepted others and all humanity--and consistently criticized societies to improve them. Sir Jadunuth Sarkar credited the English with India's 19th century Renaissance---a mass-recovery from 500 years of Muslim jihad invasions (1000-1525), when an estimated 80 million Hindus perished.

But Islamic orthodoxy remains "suspicious of `knowledge for its own sake'." Unlimited intellectual inquiry is "dangerous to the faith." The 2003 Arab Human Development Report thus found fewer books translated into Arabic in the last 1,000 years than Spain translates in one year; Greece (population, under 11 million), annually translates five times the foreign books as all 22 Arab nations combined (population, 300 million).

Arab and Muslim pleas for assistance often brought Western "imperialists" to the Middle East to start with, Ibn Warraq notes. Sultan Selim III declared Jihad after Napoleon's 1789 Egyptian conquest---joining the infidel British and Russians to protect his imperial territories from the French. In 1804, the Ottomans got territorial guarantees from Russia and Austria; In 1809, they again allied with the British. In 1866, the Sultan permitted Suez canal construction, against British and French objections. Egypt's Khedive Ismail nearly bankrupted his protectorate---and in 1875 sold the Suez to Britain for its £4 million nominal value to unwind debts. Only reluctantly, the British helped quell riots that followed---yet the Sultan refused Britain's request that he repossess canal ownership.

Said ignored historical evidence, mimicking superficial French "existentialists, structuralists, deconstructionists and postmodernists" methods, and "grandiose theories" supported by "flimsy history or empirical foundations." Said's signature work displays "laziness and arrogance" of a literary man lacking time for empirical research or need to prove his results.

Said offended worst by neglecting comparisons. Using them, Ibn Warraq affirms the West.

Said excoriates Western slavery. But Muslim traders were far more culpable. From 1700 to 1929, Arabs traded over 17 million black slaves---including 1.5 million who perished crossing the Sahara; little over 11 million crossed the Atlantic. The Occident outlawed slavery. Muslims saw Western abolitionists as "a threat to their very livelihood but also as an affront to their religion."

Tenth century Arab geographer al-Maqdisi described "Zanj," Bantu-speaking East Africans, as "people of black color, flat noses, kinky hair and little understanding." A 10th century Persian treatise called Africans "people distant from the standards of humanity." A 13th century Persian wrote, "the ape is more teachable and more intelligent than the Zanji." Islamic social scientist, economist and philosopher Ibn Khaldun (d. 1406) argued, "Negro nations" submitted to slavery since they "have little [that is essentially] human and have attributes that are quite similar to those of dumb animals..."

Even "tolerant" Ottomans perpetuated slavery through tradition and religion---and lacked an abolitionist movement, write Ehud Toledano and Turkish historian Y.H. Erdem.

Ottomans also manufactured and traded eunuchs--boys castrated throughout southern Europe, North Africa and the Near East to maintain large Ottoman harems for the upper classes. Following "total removal of testicles and penis," eunuchs suffered extensive hemorrhaging and death rates upwards of 90% in sub-Saharan and west-central Africa.

Every Middle East scholar and library should own this book.

--Alyssa A. Lappen

This is a fine book by "Ibn Warraq." Rather than merely point out a few errors in Ed Said's "Orientalism," it launches into a full-scale defense of the West.

In my opinion, Ed Said was not the first human being to write an untruth, merely the first to put so many untruths in print. And while "Orientalism" is indeed ghastly garbage, one has to wonder about those on university campuses and elsewhere who have taken it seriously. Obviously, "Orientalism" should not be banned just as the words to the "Horst Wessel lied" should not be banned. But one would have to wonder about a university professor who, for political reasons, taught his class the Horst Wessel lied. And I have to wonder about the teaching of "Orientalism" as if it were scholarly work rather than trashy propaganda. As the author of "Defending the West" tells us, quoting Clive Dewey, "Orientalism" clearly touched "a deep vein of vulgar prejudice running through American academe."

Ibn Warraq gets off to a good start by mentioning the aggressive tone of "Orientalism," which he characterizes as "intellectual terrorism" given that it "seeks to convince not by arguments or historical analysis but by spraying charges of racism, imperialism, and Eurocentrism from a moral high ground; anyone who disagrees with Said has insult heaped upon him." And it is disgusting, as the author points out, to see Said's hatred of the country that gave him such privileges as a tenured professor at Columbia University (a university he did much to disgrace). As for his idea that French and British academic studies of Arab lands were part of an imperialist plan, Ibn Warraq reminds us that the first French university chair in Arab studies was founded in 1538 and the first British one in 1633, well before any French of British imperial adventures in the region.

On top of that, the author mentions that Said "always assumed the role in the West of an Islamic expert and has never flinched from telling us in unscholarly journalistic articles what the real Islam is." That's pretty rich of Said, a Christian agnostic. Ibn Warraq says that Said's work "has encouraged Islamic fundamentalists, whose impact on world affairs hardly needs underlining."

Of course, Said omits any context from which various Orientalists wrote. As Ibn Warraq puts it, "even a casual comparison of the rival imperialism of Islam" ought to show that the British Empire should not be dismissed as a purely negative historical force.

Does "Orientalism" at least make logical arguments, albeit using a distorted selection of material? No. It "displays all the laziness and arrogance of the man of letters who does not have much time for empirical research, or, above all, for making sense of its results." I found it interesting that a meritless work written by a propagandist can take years of work to refute, simply because some folks have decided to taunt others by honoring it.

Ibn Warraq applauds Western values as "a system that does not affront our reason and humanity." He warns us that "only within the framework of certain institutions can humankind hope to realize its humanity, that we discard our hard-won institutions at our own peril, the veneer of civilization of most people disappears outside their civilizing confines."

On the other hand, Ibn Warraq warns us that, a little paradoxically, Western rationalism, universalism, and self-criticism can lead to their opposites. For example, "limitless self-criticism leads to self-hatred, as witnessed in the buffooneries of Michael Moore, the exaggerations of Robert Fisk, and the fanaticism of Noam Chomsky."

I agree with the author's reaction to "Orientalism." And I recommend this book.

I own three copies of this - an autographed hardbound that I keep at home and two duct-tape reinforced softback copies that have been on many trips into the field on personal trips, as part of field reference libraries on wilderness kayaking trips, at camps and on natural history cruises, and even in my day pack from time to time (though this is really too big to be a backpacker field guide). When this first came out it was THE gift of the year among my coastal Alaskan friends with any interest in nature (thus my three copies).

What can be said besides pointing out that it is a very thorough and and relevant reference for plant identification and consumption for Alaskans? One of, if not "The" quintessential guide to wild Alaskan edibles.

I found this book at the Library on the Island of Popov, in the Aleutian chain, in the school library on Sand Point. I was learning about the local flora and this book was like a gold mine. Not only did they have pictures, but told where to pick, when to pick, what part to pick. There were receipes. I was interested in the medicinal uses and these were listed for each item. It was truly a find. The Fish and Wildlife associate teaching classes with us had their own book and let me borrow theirs. I used it daily and ordered my own when I got home.

This book is really all I could ask for in a plant-guide to the Northwest. My only complaint is that I wish Schofield's book was even more comprehensive than it already is. As it stands, each plant she covers is thoroughly discussed, covering the traditional and contemporary uses of the plant, as well as the methods of identification and life-histories of the subjects. The book is well illustrated with both photographs and line drawings, much more so than other guides I've used. If you are at all interested in local plant-life (especially if you live in Alaska), I highly reccomend this book.

I enjoyed this book thoroughly, from it's interesting tidbits on historic uses of plants, to the explanations of known toxic principles within plants. The cautions about harvest, use, and overuse are well-stated. The descriptions enhance the line-drawings, and each plant description comes with an excellent photograph, making this a terrific guide for identification of wild edibles!

This is a book that needs to come back into print. It is an eye-opener. It deals with dreaming, not only in sleep, and not only in the narrow clinical sense. There is some very interesting material in the chapter, All Life Passes Through Water: Dreams in Hoodoo. This book is very good for spiritual workers and counselors. Among a lot of other interesting things, it speaks about the relationship between dreams and divination in African tradition, something important to consider.

Anthony Shafton has created an ambitious and noteworthy contribution to the literature of African American belief systems with his title, "Dream-singers: The African American Way with Dreams." Through numerous interviews and in-depth research Shafton opens the veil to reveal the unique quality of African and African American dreaming. Shafton goes further to create a clear picture of how African and by extension, African American dreams are distinctive from the way other cultures dream. "Dream-singers" gives voice to the practices of our ancestors--practices that heretofore have gone largely undocumented. "Dream-singers" situates dreams in the real world of our community, showing how they mirror our spiritual world view. Hats off to Anthony Shafton for "Dream-singers: The African American Way with Dreams." This book enhances the understanding of dreams in general and the spell dreams hold on the African American community in particular. "Dream-singers" is a useful work of nonfiction for people from a variety of fields and backgrounds; enriching conversation and point of view for all. Therapists, nurses, doulas and other support personnel will find that this book creates an especially clear window through which they can understand the unique ways dreams shape the perspective, fears, hopes and vision of many people of African descent. Highly recommended to those who work with dreams.

As a long time dream recorder and enthusiast, I found the book fascinating because it provided me with a different model for thinking about dreams besides the mainstream, psychological approach. It also gave me additional insight into my own grandparents who came from Poland and had similar takes on dreams. One was herself known for having predictive dreams.

As a white American, reading it has given me some insight that I didn't have before into black culture. I don't think I quite conceived before the extent to which there is a separate culture which deserves to be addressed and respected on its own merits. Nor the extent to which black people are really a part of two cultures which are sometimes in conflict. I feel much more at ease interacting with the black people in my environment and more free to address racial issues and compare experiences.

I highly recommend the book to anyone interested in the topic of dreams, but more particularly to white people who want to bridge the social gap between the races which stubbornly persists.

This book is a fine combination of fieldwork and scholarship written in an informal, non-academic style. Anthony Shafton interviewed 116 African Americans, as well as a control group of white people with which to compare attitudes toward dreams. He also searched African American poetry and fiction and the scientific literature of dream analysis, and the depth of his research is revealed in the copious notes and lengthy bibliography. As a reader raised in the white community, I found much that I had experienced myself, such as dream visits from deceased family and friends, recurring dreams, and sleep paralysis-and some that I had never experienced, such as religious conversion and deriving numbers for gambling from dreams. This book indeed taught me that the dreams of black people and white people aren't necessarily different, but they think about them differently. Because my own research is on African American hoodoo practice, I found the section on Dreams and Hoodoo and the appendices on Traditional African American Dream Signs, Policy and Numbers Gambling, and Dream Book Authors and Publishers to be among the most valuable and interesting parts of the book.

At a time of widespread interest in dreams and dreamwork, the African-American dream culture, for reasons good and bad, had remained completely invisible in the sea of books on the subject. The acknowledged importance of dream-themes in African-American music and in African-American literature makes it all the more puzzling that this vital and pervasive part of African-American life should have remained invisible to the scholars and practitioners of dream interpretation. Whatever the reasons for this discrepancy (which the author sifts through in his introduction), it was a yawning gap which Shafton set out to fill in this richly textured book.

Based on extensive interviews with 115 subjects ranging from highly educated professionals to ghetto children to prisoners, the author examines closely the full spectrum of dream experiences and their uses in personal, interpersonal and social contexts. This includes the prevalence of ancestor dreams, various forms of predictive dreaming ranging from the mundane to the sublime, the cultivation of dreamlike experiences in the waking state, dreaming as spiritual experience, dreaming as processing of socio-political reality, the nature of dream sharing in black America and the transgenerational transmission of beliefs, attitudes and interpretive techniques, the role of dream sharing as survival mechanism. Last but not least, running through the whole book, we find a subtle examination of the question of the African roots of this cultural form.

Throughout, the book makes room for the variety of cognitive and emotional experience, what the author describes as "the various degrees of certainty, consistency, and tolerance for ambiguity. There are hard skeptics. There are naive accepters. There are those in transition. There are those who embrace traditional beliefs as part of a broad enhancement of their identity..." all operating on the fundamental assumption that dreams matter. This adds credibility to one of the book's ambitions, namely to assess the future of the African-American way with dreams.

`Dreamsingers' is one of those rare cases where a book's promises seem modest by comparison with the final experience. This reflects in part the intrinsic richness of the materials the author was able to draw upon: yet Shafton's carefully conducted research could not have produced so satisfying a book without the reality of a vital dream culture and the variety of individual lives connected through that culture. Equally important, however, is Shafton's ability to elicit his interlocutors' trust, to become transparent to their individual voices, to allow for the development of the full spectrum of attitudes towards dreams and the use of dreams in the conduct of daily lives.

One effect is that the reader is in no doubt that (s)he is looking at a clearly African-American phenomenon, one that cuts across class, education and generational boundaries. Yet we are never presented with a stereotypical `African-American' voice/experience. The diversity and nuances of viewpoint revealed in this book are as vital to the whole picture as are the core beliefs and attitudes.

It is a further attraction of the book that neither the thoroughness of the research nor the complexity of the analysis are allowed to interfere with the intensely personal quality of the material being examined. We are listening to an extended, richly textured and subtle conversation between the author and his interviewees, and , indirectly, among the interviewees themselves.

By the same token, the thoroughness and intelligence of the author's analyses should make it possible for members of other groups to look at their own cultural traditions in the light of the African-American way with dreams, having been provided keys for truly multicultural understanding.

You open this book and the endpapers swirl and glow like black painted silk. They're the first indication you receive that this book is something special. Something different. Something apart from the rest. Using the narrating character of one Scat Cat Monroe, an actual well-dressed feline, the story follows Ella from child to lady of the stage. As we watch, Ella moves to Harlem thinking she's gonna make it big through dancing. Once there, however, she switches her focus and unleashes her fabulous voice. She pairs up with the Chick Webb Orchestra and Al Feldman. She then bebops with Dizzy Gillespie and earns herself the name "The Queen of Scat". It's a fabulous upbeat tale that takes the spirit of Ella Fitzgerald and lets her shine. The best possible tribute to her name.

The text of the story is especially amusing. Sometimes a book will attempt to speak in a jiving slangy sort of way and simply come off as annoying. Other times, the author sounds as if he/she is trying too hard. Fortunately, Andrea Davis Pinkney has everything under control so that when the book says something like, "She won the contest straight up, kicked her dance dreams to the curb, and pinned all her hopes on being a singer", you know it's true. There's a poetry to this book's speech that never crosses the line from authentic to agonizing. Instead, it's got a rhythm all its own.

Accompanying Andrea's text are Brian Pinkney's illustrations. At first I was a little put off by the amount of magical realism evident in its pages. Then I read Brian's inspirations (William H. Johnson, Aaron Douglas, the Art Deco movement, etc.) and it all made sense. And there's no arguing that the pictures here are fan-freakin'-tastic. Brian Pinkey has used scratchboard to make these images as bright and free flowing as they are. The result looks like nothing so much as woodcuts on acid. There's breath and movement to these pictures, and Ella herself has been granted the power of appearing larger than life.

If I've any objections to this book, maybe it comes with the choice of creating Scat Cat Monroe. Do we really need an anthropomorphic cat to lure children into this story? But it's a small complaint. Andrea Pinkney is kind enough to supply a biography, bibliography, videography, and selected discography at the end of the book for future reference. Always a nice touch. The Pinkney duo have truly created one of the best picture books encompassing the jazz, scat, and bebop movements of the past. This is the book to read.

I found a children's book about her, even better. It was a great book to jive with. Beautiful pictures, and a nice history lesson on this wonderful woman!

Ella Fitzgerald: The Tale Of A Vocal Viruosa by Andrea Davis Pinkney and Scat Cat Monroe is the amazing true-life picture book story of the First Lady of Song, also known as the Queen of Scat, Ella Fitzgerald. This amazingly gifted African-American singer, and her illustrious achievements are presented with free-wheeling, full-color illustrations by Brian Pinkney and a jivin' prose. A great story to share with young people about the joy of music and reaching for one's dreams, this Weston Woods school library packaging edition is enhanced with the inclusion of a CD of the story with page-turn signals.

The Pinkney couple's biography on Ella Fitzgerald is a delightful read for young children who want to learn more about the talented jazz artist. The use of narrator Scat Cat Monroe as a device to engage children is successful especially due to his use of language. The rhymes and rhythms the authors adopt to tell the story echo the snazziness of the music at the time. Young readers will thoroughly enjoy getting to know more about the artist Fitzgerald through this story.

"You may think I look like any other cat. But baby, I'm in a class all by myself. Scat Cat's my name. Scat Cat Monroe. A name I've earned. Got my name from knowin' Ella. Ella Fitzgerald. The Queen of Scat. What's scat? you ask. Scat's the sound that don't hold back. Ella's sound-that was scat. Singing so supreme. Music's velvet-ribbon dream..." Narrated by this cool, zoot suited feline, Scat Cat Monroe introduces the incomparable, Ella Fitzgerald, to a whole new generation of fans. From her humble beginnings in Yonkers, New York, to her contest winning debut at Harlem's Apollo Theater at seventeen, to her meteoric rise, singing with the big bands and jazz artists of the 1930s and '40s, Scat Cat was there, stompin' at the Savoy with the Chick Webb Orchestra and jammin' to cloud nine and back with Dizzy Gillespie. "Now, when Ella performed, she let her lyrics go. She took her singing out to play." Andrea Davis Pinkney's engaging, lyrical text swings with imagery, magic, and rhythm. Brian Pinkney's bold, bright, and inventive illustrations dazzle, as they swirl around the pages to the music of the words. Together, word and art create an inspiring and captivating introductory biography starring the First Lady of Song. With an Author's Note at the end to complete the story, Ella Fitzgerald is an energetic, fun-filled tribute, that's perfect for music lovers 8-12, and also works well as a read-aloud for younger children.

If you are bewildered by the debates over physician-assisted suicide, suicide prevention, and the legal right to suicide, then this book should answer your questions. Szasz demonstrates clearly and logically what a mess we have made of dying and how we can choose ethical, compassionate options that give power to the dying rather than to government and physicians. Why should individuals be deprived of the right to the means of dependable, dignified suicide? What are the dangers of giving doctors the power and tools to kill people? Why are physicians --who are themselves three times more likely to commit suicide than the general population-- the appropriate persons to engage in "suicide prevention"? How is the "war on drugs" stripping us of the power to control pain and death? Szasz tackles these and many other questions. He points out that in Holland, where physician-assisted suicide in common, 23 percent of physicians say they have participated in the killing of a patient WHO DID NOT AGREE TO BE KILLED. Is this compassionate medicine or nazi-style euthanasia? Szasz provides convincing answers to the complete array of questions surrounding suicide.

Thomas Szasz is one of century's brilliant social thinkers. He's best known for his criticism of psychiatric pseudo-science and coercive practices, but his intellectual reach is vast. In this remarkable book about suicide he defends the right of individuals to control their bodies and lives -- including the ways they choose to die. He takes issue with physicians having the power to determine our fate and places the choice and responsibility for suicide into the hands of the individual. He would end drug prohibition (including limits on access to prescription drugs), and permit adults (not children) to obtain the drugs necessary to commit suicide. He presents a convincing argument that physician-assisted suicide takes us farther from personal autonomy, making us more dependent and vulnerable. He notes that about a quarter of physicians in Holland, where physician-induced euthanasia is common, admit to having killed a patient without asking for the person's permission. As I write this review the American Medical Association is enlarging its interest in suicide prevention, but Szasz points out that doctors and psychiatrists commit suicide at much higher ratest than the general population. Szasz asks readers to look to the historical record of physician participation in euthanasia (Nazi germany, for instance) to see what moral depravity and mortal mayham have resulted. Szasz flatly supports the right of an individual to commit suicide without interference from physicians, psychiatrists or government. As is always true with Szasz writings, this book is tightly reasoned and beautifully written. It is a work of great compassion and honesty.

Fatal Freedom: The Ethics And Politics Of Suicide by Thomas Szasz (Professor Emeritus of Psychiatry, State University of New York Health Science Center, Syracuse) is a thoughtful and persuasively written defense of the individual's right to voluntarily choose the time and manner of their own death. Criticizing the inhumanity of the established legal and medical policy prohibiting suicide for any reason allows extensive and widespread suffering, Fatal Freedom also reveals how suicide has been viewed down through the ages alongside other social practices about which public perception has changed. Very strongly recommended for academic and community library social issues collections in general, and psychology/health reference sections in particular, Fatal Freedom presents an emphatic presentation not to be ignored.

In his new book, FATAL FREEDOM, Dr. Thomas Szasz has taken the first step in destigmatizing suicide. In so doing he reminds us that not so long ago in England the failed suicide was punished by execution and his family deprived of his property. To "insanitize" him, that is, render him non compos mentis, seemed the only just solution.

Dr. Szasz does not admit the existence of mental illness unlike Dr. Kay Jamison who, in her book NIGHT FALLS FAST, assumes in the suicide its "almost ubiquitous presence." She discounts the will as a vital force in determining behavior; he emphasizes it as follows: Suicide is not a disease but a deed and as such, poses a moral, not a medical, problem. To allow medical experts to pathologize it is indicative of our willingness not to think, but to be thought for. More, these agents of our ever-expanding "therapeutic state" seem unable to call things by their right names. For example: Why say suicide is an unnatural act when they mean it is a wrongful one? Or misname medical intervention for the dying as medical treatment? Szasz deplores imprecise language because it rigor-mortises thought and begs significant questions. How can we, for example, without empirical evidence, accept the idea that mental illness is like any other illness?

Dr. Jamison reminds us that suicide among the young has tripled in the last forty-five years; Dr. Szasz asks whether suicide prevention in its present form does not increase its likelihood. Her study echoes the latest orthodox belief in biologically-based mood disorders. He, on the other hand, takes issue with our tendency to pathologize socially unacceptable behavior: Only yesterday we believed masturbation and homosexuality cause insanity. Today insanity causes suicide. To call the subject ill and to incarcerate him "for his own good" not only presupposes his act unjustified, it relieves him of responsibility for it;-and because it is more blessèd to forgive than to blame, relieves us of responsibility too.

Szasz goes further: If we have birth control, why not death control? If we allow justifiable homicide on grounds of self defense, why not justifiable suicide? The question gives one pause.

Death is the final indignity imposed by time; it is, paradoxically, our only refuge from it. "One loves ultimately one's own desires," writes Nietszche, "not the thing desired." And when desires fade from old age or debilitating illness, are we not sometimes obliged to relieve our loved ones and ourselves of further agony? Yes, says Szasz. For suicide is not only an act of will, it may be a moral responsibility.

I think of the Myth of Sisyphus, its corollary in our lives: Sisyphus, whose punishment was to push a boulder up a mountain that must always roll down again, could not choose but submit. Can free will have taught us that unless we find joy in our struggles we had best not struggle at all? Shall we all lie down and sleep in the shadow of the rock? Yes, if we choose, says Szasz! Yet he does not advocate suicide, only its option: Who but we should control how and when we die? he asks. But to sanction such a choice for every adult?

Running rampant among the young today is the infectious disease of despair that breeds on the fallacy that things difficult are necessarily impossible, and what is largely true is wholly true. And symptomatic of this disease is the alarming insistence that there is nothing to prevent the pendulum from swinging us all into annihilation. Statistics don't lie. These are parlous times.

And our suicide-prevention programs are failing. Should we abolish them then? No, says Szasz, we should abolish coercive suicide prevention, and instead practice verbal persuasion as do the Samaritans in England. They, in respecting the suicide's wishes, more often than not dissuade him from the act.

I don't remember the last time I talked back to a book. FATAL FREEDOM is an exciting read, a tonic breath of fresh air. I recommend it highly for lay people and medical professionals alike.

In this important and disturbing work, Professor Szasz pulls the plug on murder masquerading as medicine, and sanctifies suicide as the ethical act of a moral agent--the natural evolution of autonomy and personhood.

Doreen Rapport Freedom River; Illustration by Bryan Collier
14pp. ISBN 0-7868-0350-9.-ISBN 0-7868-1229-X (pbk.).-ISBN 0-7868-229-0 (lib.bdg.)
(Intermediate)

Freedom River is a true story, about getting from Kentucky to the free state Ohio. John Parker a former slave, and now a businessman of Ripely Ohio. John then helps a couple and their child escape being slaves to freedom. The freeing of these salves is taken place through out the year. Both the author and the illustrator work wonderfully together to make this book seem real. The text clearly goes along with the pictures. The illustration is remarkable, the pictures look like photographs. Bryan Collier uses a different technique for his illustrations, it looks as if the pictures are pieces of a puzzle arranged together. As you begin to read this book look closely at the faces of the people, you will see wavy lines, these lines represent the Ohio River. The color schemes really put things in perspective also, they are realistic colors. Through out this book, Doreen Rapport uses short phrases to describe the event that is taking place: Run. Run, Row. Row, Listen. Listen, Wait. Wait, Closer. Louder, Crawl. Crawl. This gives the reader insight to what is going on in the picture by just two word phrases. Another author that does this same technique is Under the Quilt of Night by Deborah Hopkinson. The ending of this story is really surprising, I but when thought about it makes sense. This book is just not about the freeing of slaves, but it is about doing what is right in life, helping others out. I recommend this book to adults and children in the intermediate level. An interesting addition to the end of the story is a historical note which explains in great detail about the life of John Parker.

Doreen Rapport Freedom River; Illustration by Bryan Collier
14pp. ISBN 0-7868-0350-9.-ISBN 0-7868-1229-X (pbk.).-ISBN 0-7868-229-0 (lib.bdg.)
(Intermediate)

Freedom River is a true story, about getting from Kentucky to the free state Ohio. John Parker a former slave, and now a businessman of Ripely Ohio. John then helps a couple and their child escape being slaves to freedom. The freeing of these salves is taken place through out the year. Both the author and the illustrator work wonderfully together to make this book seem real. The text clearly goes along with the pictures. The illustration is remarkable, the pictures look like photographs. Bryan Collier uses a different technique for his illustrations, it looks as if the pictures are pieces of a puzzle arranged together. As you begin to read this book look closely at the faces of the people, you will see wavy lines, these lines represent the Ohio River. The color schemes really put things in perspective also, they are realistic colors. Through out this book, Doreen Rapport uses short phrases to describe the event that is taking place: Run. Run, Row. Row, Listen. Listen, Wait. Wait, Closer. Louder, Crawl. Crawl. This gives the reader insight to what is going on in the picture by just two word phrases. Another author that does this same technique is Under the Quilt of Night by Deborah Hopkinson. The ending of this story is really surprising, I but when thought about it makes sense. This book is just not about the freeing of slaves, but it is about doing what is right in life, helping others out. I recommend this book to adults and children in the intermediate level. An interesting addition to the end of the story is a historical note which explains in great detail about the life of John Parker.

In the book, A Freedom River, the writing of Doreen Rappaport along with the illustrations of Bryan Collier together create a stunning retelling of one particular trip on the Underground Railroad. This is the story of a slave family escaping from the slave state of Kentucky to the free state of Ohio.
The book's uniqueness lies not in its topic, but rather in the characters. John Parker, this true story's hero, was not only a conductor on the Underground Railroad, but also an accomplished businessman from Ripley, Ohio. He was born a slave and worked to buy his freedom. He owned his own foundry, and employed both black and white individuals from both Ohio and Kentucky. He helped to make this book unique because he is not a well known conductor, but his impact on the Underground Railroad was just as great. It is said that he helped over 900 slaves escape to freedom during his lifetime.
A Freedom River draws the reader into the experience of the Underground Railroad. It masterfully pulls forth every imaginable emotion, as the characters must make choices that may end in the separation of families, death or freedom. The pace of the book along with large, bold directives, such as RUN, CRAWL, and LISTEN, create a feeling of breathlessness, much as if the reader too, were running for freedom.
The illustrations work hand in hand with the written word in order to create the overall experience of the book. The multi-textured collages with realistic faces add emotion and dept to the story. Wavy lives found throughout the illustrations deeply symbolize the river and its importance in the search for freedom.
This is a beautiful book and worthy of a rating of more than five stars. It could be successfully used with children from 1st to 6th grade. It is an excellent book for introducing and further understanding the Underground Railroad.

There are many retellings of those who risked their lives to free slaves, but this is surely one of the best. Parker would certainly be proud to have his story told with such fluid, yet vivid, text. Collier's illustrations are poignant, and his explanation of the symbolism he depicts adds an extra layer of richness to this treasure. This book is so much more than a biography. Enjoy it with the special children in your lives.

Before the Civil War, Kentucky was a slave state. But just 1000 feet across the Ohio River, Ohio was a free state. John Parker, was as a conductor on the Underground Railroad and helped hundreds of slaves cross that river to freedom. John was a unique individual, an ex-slave who learned to read and write and was able to buy his freedom and a successful Ohio businessman who employed both black and white workers. But he never forgot his slave roots and the terrible pain of being separated from his mother and sold when he was eight years old. Because of this, he risked and devoted his own life to helping slaves escape to safety in Ohio. Freedom River tells the story of one of John Parker's trips to Kentucky to rescue a family of three..... Doreen Rappaport has written a powerful and inspiring story of the courage and determination of one man to right the wrongs of slavery. Her eloquent text makes John Parker and this story come alive and is complimented by Bryan Collier's vivid illustrations that add a real sense of drama and urgency. Perfect for children 8-12, Freedom River is a wonderful introduction to the Underground Railroad and includes historical notes to enhance the story and augment discussion.

Fans of soul music will find Richard Younger's Get a Shot of Rhythm and Blues to be a fine biography of one Arthur Alexander, a singer/songwriter who may not be well known by name, but whose songs influenced the 1960s rock musicians. A fine coverage of his life and achievements is presented in a lively survey of soul and rock and roll music.

This is a great book that provides clear and concise insight into the life of Arthur Alexander. The story behind the singer, the songwriter and a true influence behind some of the greatest figures of rock and roll. This story should be made into a movie so everyone can learn about this unsung hero. Richard Younger has researched Arthur's life, the people he affected directly, and the soul of this talented man. READ THIS BOOK AND LEARN THE STORY OF A MAN WHO DESERVES TO BE RECOGNIZED AND REMEMBERED!!!

After being a fan of Arthur Alexander in the early sixties he seemed to drop out of sight, occassional records but very little else seemed to appear, this book puts the record straight and fills in all those gaps. It also goes a long way to answering the reasons that he did not make it to the position in the music scene that his undoubted talent deserved. The book is very well written by Richard Younger who obviously felt very deeply about the subject, he deals with the problems that AA encountered in his music career and his private life. It was sad that at the very time that AA was begining to make a comeback and he was again showing the talent that was always there he was taken from us. He had become religious during the last few years and this seemed to have a calming effect on him and I am sure that he would have again had big selling records. Thank you Richard for an insight into the life of Arthur Alexander through the highs and lows.

Arthur Alexander was always a mystery man - till now! Richard Younger's biography of one of the most distinctive and influential black singers of the 60s sheds sympathetic illumination upon the life, the music - and the demons - of this woefully underrated singer/songwriter (the only writer to have songs cut by The Beatles, The Rolling Stones and Bob Dylan). AA's hugely-satisfying vocals married to his distinctive soul-country arrangements (his reputation was founded on just four 1962 Dot-label singles) emerged moments before the UK beat boom swept the globe and was crucial in its influence on the Beatles and the Stones. Younger's book explains how it all came about, taking us on a roller-coaster ride through AA's life of musical and personal extremes. With a series of revealing interviews he transports us to the heart of the Alabama music scene and charts Arthur's role in the foundation of the Muscle Shoals/Fame recording empires. Whether you're a long-term Alexander devotee, a soul music buff, or simply a Sixties survivor, then you'll find this unputdown-able tome a tonic that'll have you listening with a fresh ear to those perennial Alexander classics.

Fans of soul music will find Richard Younger's Get A Shot Of Rhythm And Blues to be a fine biography of one Arthur Alexander, a singer/songwriter who may not be well known by name, but whose songs influenced the 1960s rock musicians. A fine coverage of his life and achievements is presented in a lively survey of soul and rock and roll music.