Genres Books

This is a good look at a rehashing of what has been, for a long time. Some authors are better at portraying certain subjects in better context than others. These 2 gentleman seem above the average! I like it, very much.

The biggest value of this book though, is the fact that the great Jeff Bent was such a huge part in the authentication process.... I personally am working on several learning methods for publication. It would be an honor to have Mr. Bernt give a look at my ciriculum also. ( I probably mispelled that, thats why I need Jerf!!)

Anyway, good book. Nicely done!

This book is one of the very best I have seen,
along with "hearing the changes" by Jerry Coker,
and Jazz and Popular Harmony by Daniel Ricigliano,
it has become a favorite.

The book's approach is so intuitive, it almost leads you by the hand into the world of jazz. Certainly jazz is freedom of expression but you have to know what you're doing and this book is the tool for that. Combine it with some tunes and mix in some listening, and the world of jazz is open to you. This should be a standard in every high school with a jazz program and every college lab band.

This excellent book is useful and relevant both as a reference work
and as a coursebook.

In addition to being the definitive compendium of music theory as it
relates to Jazz usage, it also contains exercises for the student
that can be used in the classroom as a supplementary teaching tool or
even as a full blown course of study in itself.

There are hundreds of musical examples to flesh out the prinicples
and topics covered in the text.

The material is well paced and in a logical order. The uncrowded look
of the page layouts aids considerably in making this vast amount of
technical material easily digestible for learners of any level.

This extremely deep book is certainly poised to become the standard
Jazz Theory text of the 21st century.

Although it is only one of many jazz theory books on my shelf, I find that this book sticks out for its breadth and applicability to performing and arranging in the jazz idiom. This is accomplished through the sections on piano playing for all jazz instrumentalists where the topics include both voicing and comping rhythms. The latter is usually left out from theory books. There is also a chapter devoted to solo styles where the student can read through analysis of solos with the musical example provided in the book. There is a chapter on arranging for various ensembles as well as a chapter that deals with "Early and Traditional Jazz" a much overlooked area in our jazz history studies. The book even ends with a chapter on practicing that deals not only with what one should practice, but why we practice particular aspects of the music.

Of course there are all of the requisite chapters on scale/chord theory and the ii-V-I progression that you will find in most books, but it is the added material that appleals to the player as much as the theorist. That is what makes this book a superior buy to many others.

Just a couple of small observations:

**The 27th of February 1854 was the most devastating day of Brahms' life. Robert Schumann threw himself into the Rhine in an attempt at suicide. His derangement interrupted a period of enormous creative momentum in the young composer's life (P36).

After the tragedy, Brahms' immediate reaction was to rush from Hanover to Dusseldorf, to Clara Schumann's side. With the support of Grimm, Dietrich and Joachim, he offered what help he could. There were six small Schumann children to be cared for, Clara was pregnant with the seventh, and arrangements had to be made for Robert Physical safety (he would soon be taken to an asylum in Endenich, on the outskirts of Bonn) (P37). On 11 June 1854, Clara gave birth to her eighth (!!!!????) and last child, Felix. (P45).

Was Felix the Seventh ??? All my references indicate that Clara Schumann raised seven children, an eighth died in infancy.

**WAS IT CLARA'S COMPLEX that caused Brahms to fear public appearances, when he was 23-25(??); given the fact that Clara was an excellent pianist with no equal, and Brahms could not have possibly matched her skills.

""J. Brahms wrote copiously to Clara, not only during this tour (1854), but for the next two years as well. For a time he was writing at least once a day, thereby leaving us a treasury of letters which overflow with emotions, and the details of his existence"".
It looks to me Brahms feared the public, in general. See JB letter to Julius Otto Grimm; ""Dusseldorf September 1855...I intend to play in public this winter and notice with horror that my aversion to playing for people has got quite out of hand. How will it go? At times I am seriously frightened. I do now practice a lot; also I have quite a lot of lessons to give.... (P112)""... Anything to do with Clara's complex!!! I ask??
""Brahms first appearance with orchestra took place in Bremen, on November 20, 1855. He played two works by Beethoven: The Emperor Concerto, OP.73, and the solo Fantasy in G minor, OP.77. (P114)
The greatest portion of what we know about him during these earlier periods of his life comes from what he wrote to Clara (P66).
Clara told in her diary his letters were her only joy. She too wrote frequently except that her replies have perished `I have often written to him, which always cheers me up, for of course, I cannot write to Robert of the things that occupy my mind; his spirit does not accompany me, when I go into a concert it does not feel me as if he were wishing me success - then I am dreadfully melancholy, and the one thing that lifts me , that always strengthens me, when my courage threatens to fail, is that He, Johannes, the dearest, most faithful friend, thinks of me and accompanies me with his good wishes"" .

The letters which still exist are only a portion of what he wrote.

""JB to Clara Dusseldorf 22/2/1856. .... I think to myself how beautiful it would be if we both made really vigorous strides and became capable, great musicians. Each of us places the other above himself, what is more natural but that we should squabble with each other, as long as we squabble only with each other..... (P121) Prior to that, on Feb 12, Brahms wrote Clara: ""It always depresses me a little that I am still not a proper musician, but I have the talent for it, more, probably, than is usual in young people nowadays.... (See comments on Mozart) (P120)""

Unfortunately, Jan Swafford did not have a chance to read this book before writing his own "biograohy" of Brahms. If he had, he would have been privy to a wealth of information, much of which has not been available to non-german speakers. Avins' commentary on the letters of Brahms and many of his correspondents is clear and well researched.

I'v been a Brahms' music fan for a long time and i have read three different biographies, without having the opportunity of get closer to his thoughts before i buy this great book. Now I know how Brahms' mind worked, how (really) was his relationship with his friends and how were his feelings and thoughts during the periods he composed that wonderful music.

I'm not an english born speaker, so i had some difficulties in understand the meaning of some sentences, more exactly, some modisms, wich are very frecuent in Brahms' speech.

In spite of this, I recommend this book because it's just wonderful.

The virtues of this book are several: about 800 previously untranslated letters of Brahms, masterfully translated and carefully and judiciously annotated, based on research entirely from source materials which, among other things, give the lie to the unsavory myths of Brahms childhood, proving beyond doubt that he came from a hard-working, well-meaning family who lived in a good neighborhood, and provided him with a good education and normal childhood. The author's research confines to the rubbish heap the silly Freudian theories, never based on any evidence, for his reasons for not marrying. This compendium of letters and their absorbingly written annotation is a gold mine for amateurs and professionals interested in a truthful picture of Brahms.

"Richly informative" - Sunday Times, London. "Occasionally a book comes along which changes perceptions of its subject. This is such a book. ... [The] annotations are not only scholarly but often witty and always full of common sense. ... Wherever you read, you will feel you are in Brahms's world and that he is speaking to you." - Sunday Telegraph, London. "There are many gems here ... much to be gleaned from what Avins has selected.. Those who seek to be on more intimate terms with Brahms and his circle... will find much to pore over in this collection" - Los Angeles Times. "Little short of a bombshell ... Ms. Avins's contributions are terse and often illuminating... fascinating illustrations, a helpful chronological table and other tools... Brahms reveals himself in workaday as well as transcendent moods." - New York Times. "This is a work that will thrill Brahms fans and provide much pleasure to those entertained by the personal correspondence of great artists. Recommended for general and academic libraries." - Library Journal. "It is not much of an exaggeration to say that the book presents Brahms in a new but quite convincing light... the book can be read as a biography... this composer has seldom seemed more lovable, more vulnerable, more honorable." - Gramophone. "This is one of the most important music books published in recent years." - The Oldie, London.

If you are an opera fan, you will probably enjoy a lot of the behind the scenes anecdotes in this book. Most interesting for me were the parts that discuss working with high-maintenance divas and conductors (especially Karajan). There is also a very disturbing section about a stalker who followed Nilsson around the world for 9 years.

There are also many paragraphs of the form "In 19xx I performed such-and-such opera in such-and-such theatre alongside so-and-so who was a wonderful singer and so-and-so who was really good on stage etc etc." These get kind of boring --- except in those cases when the performers played practical jokes on each other. Because of the boring parts, I found it a little hard to motivate myself to read through the whole book, but there are a lot of good stories in there.

Nilsson fans will also appreciate the discography. She was an awesome singer.

This autobiography by Birgit Nilsson was originally published in Swedish in 1995 and in German two years later. This 2007 English translation of the German edition is by Doris Jung Popper, an American who was herself a former Wagnerian singer in Europe. It is for the most part in graceful, witty and seamless prose which catches the informal and down-to-earth way Nilsson spoke. We are taken from Nilsson's life as a farm girl in Sweden through her discovery locally, her schooling in Stockholm, her first breakthrough there and then internationally and her acclaim as the greatest Wagnerian soprano since Kirsten Flagstad. We get backstage stories about performances in New York, Milan, Stockholm, Vienna, London and, of course, Bayreuth. We read about her long happy marriage to Bertil Niklasson, a veterinarian. She shares funny and warm stories about her colleagues, not sparing those with whom she crossed swords -- most notably Rudolf Bing and, much more so, Herbert von Karajan, for whom she is particularly disdainful while admitting that he could draw magnificent music from his performers. She relates the details of her having to deal with her stalker, Miss N., a story well-known in opera circles but which may come as a surprise to some readers. One senses that Nilsson withholds some details in the interest of sparing the feelings of some opera world luminaries who are still with us. This reflects positively on her genuine concern for the feelings of others but might disappoint those who are looking for 'dirt.' There is a discography and a detailed chart outlining events in her life, as well as a compendious index. As well, there are over 60 black-and-white photographs from all periods of her life.

Warmly recommended.

Scott Morrison

This is a wonderfully entertaining read about a thoroughly gracious and unexpectedly humorous lady. I knew that she reportedly had a lively sense of humor, and this book chronicles that fact. It is especially nice to know that this book was not "ghost written," but was just translated from the Swedish.

At last an English translation of this wonderful biography. It is written by Ms. Nilsson herself - no ghost writer here. It is translated from the German edition, not the Swedish one. It also exists a Danish translation. In both the German and English translations some short episodes are deleted. The original Swedish version also exists as a talking book, with Ms. Nilsson herself speaking. The book is filled with lots of interesting details from one of the most spectacular careers ever on the international opera scene. Behind every word you can feel the sympathy and warmth of a really great but also earthbound star with great intelligence and - a great hearth. When famous film director Ingmar Bergman read these memoirs he tells in an interview that he had never laughed so much and so often when reading a memoir before. That says a lot. A must for all opera fans.

I was never privileged to meet or know Madame Nilsson personally, but her memoir, _La Nilsson: My Life in Opera_ makes me wish I could! She was a bright spot in the world and her death in late 2005 was a huge loss. I have certainly been an admirer of both her singing and of the woman herself for many years. I do own her earlier book, _My Memoirs In Picures_, which is largely a wonderful collection of photographs from her life and career, and whetted my appetite to know more about her. If you can find a copy, I recommend that book as strongly as I recommend this longer memoir.

That appetite has been mostly--if not completely--satisfied by La Nilsson, an easy, accessible and "can't-put-it-down" fascinating account of her life. This book is just what I would expect of Birgit Nilsson, unpretentious, friendly and conversational in tone, but awe-inspiring in terms of her artistry and long career; her great accumulation of knowledge and experience, and about comic moments onstage and off that made me laugh out loud. Some of the funniest of these deal with language barriers, and the difficulties of correctly interpreting foreign musical terms that were misheard, or misunderstood. She is never mean in spirit, although she doesn't sugarcoat her personal difficulties with von Karajan, and sometimes with Karl Bohm, and Rudolf Bing. But in all cases, she writes in detail about what she admired about them, too. She gave as good as she got in the area of verbal self-defense.

She writes warmly about all her many long-time friends and colleagues on the operatic stage, most notably Wolfgang Windgassen, Set Svanholm, Jon Vickers, Astrid Varnay, Leonie Rysanek, and Hans Hotter. She was a trouper through some harrowing experiences, and while she did not put up with a lack of professional consideration from anyone, she did not just wilfully indulge in "temperamental diva" behavior. No wonder so many of her colleagues loved and respected her!

Madame Nilsson also writes about her parents and her beloved husband, Bertil Niklasson, with great warmth, although she doesn't gloss over some of her frustrations with both parents during her childhood and adolescence. The twelve years she had to deal with her stalker, Miss N. filled me with sympathetic dismay, as I had no idea Madame Nilsson had had to endure that persistent, threatening intrusion into her life.

I highly recommend this memoir to any admirer of Madame Nilsson's in particular and of any interested opera fan in general for the insight into the career of one of the great singers of the 20th century in her own, very witty words.

Melissa Houle

An excellent book concerning religious toleration, civil society and Christian faith. Very pertinent to the 21st Century and the War on Terrorism, although Locke's standards need updating regarding religions and organized beliefs that must not be tolerated in civil societies.

Locke's works pass the test of time and must be read by students of government and political theory today.

This should be given to every person walking into a church, synagogue, mosque, ect. This essay is a must read, especially in todays world with people coming into contact with different types of people daily!

The previous reviews leave little that needs to be added, especially from marquisburano. This is a great afternoon read that serves as a peek into the influence of our Founding Fathers as well as a glimse of the early ideas that led to the Revolutions.

There is only one thought to add that may be splitting hairs, but holds theoretical ramifications when one considers it. Locke describes in this book 'separation of state from the church'. Yes, he supposes individual freedom of expression of faith, but he views the institutions of faith as entities that can be proactive within the state. The split hair is that in a 'separation of church and state' (which actually is not stated in the Constitution) scenario, we arive at a benign faith community that exists exclusive (in theory) of the state. The first is a restriction only on the state to act on the church, the latter creates a duality for those of faith.

The author does not necessarily imply an opinion for either interpretation. The point made is that this book must be read with the eyes of the history in which it was written. Knowing the history is a great start, but you must also examine it hermaneutically to understand that Locke was arguing against England intermingling (understatement) with the Chruch, as many other authors since Henry VIII have done.

Read Locke, he is one of the masters of his time and our lives are affected by it daily.

This work by Locke, in spite of its brevity, is a required piece of reading in order to put in perspective the other endeavors of the author.
The issues discussed in this Essay were at the base of the formation of political theory in the Western world, during the centuries of enlightenment. Locke's effort in the case of this Letter (of the 4 he wrote, this is the first one, published in 1689 in English, from a text published some months previously in Holland) was the rescue of religious tolerance vis a vis political powers and structures, and the recognition of the need for a sphere of private religious freedom, legally guaranteed and exempt from the interference of political power.
HISTORICAL BACKGROUND: When Locke wrote this Letter, there was still controversy regarding the definition of the concepts of liberty of conscience and religious freedom. In fact, the first step of the ladder is represented by the idea of religious tolerance. The starting point of analysis, at the time, came from the observation of the fact that certain degree of intolerance has always existed (religious, political, racial) in the human nature. If one analyzes the origin of religious intolerance in the western world, it stems necessarily from the fact that every Church or denomination, claims with more or less clarity to be the sole bearer of the truth. In this context, what could be the meaning of "tolerance" as a concession or pretense ? To recognize to the dissidents and minorities the possibility to coexist peacefully in a certain society, without having to renounce the external manifestations of their beliefs. But the need for religious tolerance can only make sense in a society where a dominant religious majority has the power to impose onto others its dogmas, either directly (a theocratic government) or through secular political power (the papist states).
On the other hand, the concept of religious freedom implies the recognition for the individual of the natural right to freely profess and express his beliefs, without the intervention or interference of political power or Government. Accordingly, whilst tolerance had been considered historically as a "concession" granted by the dominant religious movement or Church to other religious minorities, religious freedom appears in the Western civilization only once the political power is separated from the religious community. And here the Reform had its influence.
LOCKE'S TOLERANCE: Against this background, the problem of tolerance appears to Locke as a political problem, based on his conception of the State as a society born out of the consent of free men. In his State, it is logical to deny the political power, the possibility to interfere in private matters. Locke defends religious tolerance recurring to several arguments.
Politically, war and factionalisms are not the product of religious differences, but of human intolerance. In other words, it is not a requisite for the State, in order to function, to have a unified religion. From the religious standpoint, the Church is a free and voluntary assembly. No man can be forced by the magistrate to enter or remain in a specific Church or religious denomination. Only if we freely follow the mandates of our conscience, we follow the road to salvation. Thus, all political efforts to force us to adopt the "true faith" are vain and anti-religious.
Persecution, in itself, is not Christian and Locke concludes that in all matters related to the faith, violence is not an adequate or acceptable mean to gain followers.
Religious freedom, therefore, is a natural right of the individual and truth cannot be monopolized by any single religious denomination or person.
RESTRICTIONS: Does Locke really advocate absolute freedom for all men of every sect or religion when he writes: "Absolute liberty, just and true liberty, equal and impartial liberty, is the thing that we stand in need for"?
Not really. Tolerance has to be just, but practicable, in accordance to public interest. Therefore tolerance cannot condone ideas that are contrary to society or to moral rules required for the preservation of society. Doesn't Rome require submission from a catholic prince to a foreign power? For Locke, there is no real distinction between Catholics and atheists, from the political standpoint.
CONCLUSION: For Locke the only limits to religious freedom are the need to avoid damage to other individuals and the preservation of the existence of the State. On the other hand, such a freedom is only viable as a consequence of the secularization of politic and the separation between Church and State. I TRULY RECOMMEND THIS SEMINAL WORK. Time has not taken away certain lessons that are to be learned, if we want to live in a better world, a more tolerant one. GOOD ANTIDOTE AGAINST FUNDAMENTALISM.

Locke's _A Letter Concerning Toleration_ is key for many reasons, not least of which is its startling relevance to contemporary society. Locke sees tolerance as fundamentally a "live and let live" situation, a state which must be acheived to avoid the endless relativity of a regime fueled by religion; as each man is orthodox to himself and heretical to others, he argues, religious tolerance *must* be a basic societal tenet for the state to function. Excellently argued and written, Locke's _A Letter Concerning Toleration_ is an "inevitable read" for most students that should be welcomed with open arms and minds.

I have been buying music books for over 20 years and this is, by far, the most complete! I bought 5 copies for family and friends and they all loved it. It's THE book that should be in every music collection and schools. If you had a 10 star rating, I would give it a 10. Thank you, Amy Appleby for sharing your expertise with us. Write more!

Even though I've been playing piano (and other instruments) for years, I'd never bought a complete music book until this one. It covers everything. It's the perfect start or addition to any musician's library.

This is a great collection of all types of songs. Although I don't play an instrument, my son is learning to play the keyboard. I have used the songs for groups at work and now my son is getting use of it as he learns to play. It is truly a wonderful collection of music.

I have had this book for almost 10 years now and finally started to learn to play the piano. Over the years I have used it for the songs mostly with clients for music therapy. Several clients have used it to play keyboard. With over 200 selections, there is something for everyone. It has seen a lot of use but is still in wonderful condition. These books are made to last and the comb binding allows it to lie flat which is definitely a plus for all levels of musicians.

This was a very good choice for me, it gave me alot of different music to choose from. The style made it eay to read and turn pages. I was most impressed with the idea I could go from a lullaby to a marching tune without having to switch books.

A wonderful assortment of pieces accompanied by wonderfully arranged interpretations. The songs in here continue the Piano Classics that everyone should know and provides a nice mix of easy-as-pie to finger-bleeding arrangements.

Playing from this book will not only exercise your mind and help cultivate your understanding of the art, but will also provide you with wonderful presentation pieces.

This is an amazing book. I bought it for my niece and she loves it. This is the third piano book I have purchased from Amy Appleby and Peter Pickow and will buy many more i am sure.

The best thing about this book is the variety. There are so many songs included in this book and several different levels of difficulty. This is by no means a beginner book, but there are songs that will challenge you and songs that will please you.

I used to be an early advanced player when I was a teen but lost interest and stopped playing altogether. Now some 15 odd years later I'm trying to pick it up again, and even though I'm probably back down to intermediate level I'm just glad I didn't lose it all. This is a great big book with a nice selection of about 100 songs, over 300 pages. I love the plastic coil binding, the book STAYS open! A definite gem to add to your collection.

I really love this book. I have found that the spiral binding is great for beginners. It opens flat and turns easily, so when I am looking for a new book to add to my collection, I am immediately drawn to yours and as in the past, this is a wonderful collection. I am enjoying learning the music of the masters. Thank you for your talent of creating such a combination of pieces that make learning much easier and yet will be so gareatly appreciated by the expert for years to come.

Great book. A total insight to the tribute band world. The author uncovers all the good and the bad, and doesn't sugar coat anything. He also delves into the psychology of this scene which is great. The highlight of this book is when he mentions my band, "1988," in chapter three! (along with about 150 other bands!)

Yes, rock and roll, much like the priesthood, tends to weed out all but the most hardy and dedicated. If you have ever taken a serious whack at the game, then you owe it to yourself to read this book. You'll laugh, you'll cry... Well, okay, you won't cry, but you'll certainly identify with the ups and downs, triumphs, failures, dysfunctions, stresses, joys, and fiascoes that are a part of that life. And if you threw in the towel a long time ago, you might just pat yourself on the back.

There are a lot of books about famous rock bands, but not too many that describe what it's like to be an average working musician, whether in a tribute band or not. The "tribute band" aspect lends an extra degree of absurdity to the whole business, especially today, when rock seems to be going through another one of its periodic death throes. (Believe it or not, a lot of us thought rock died around 1975. Shortly thereafter, disco was declared dead. Then punk also kicked the bucket. Remarkably, they all keep going.)

Among musicians there has always been a divide between the "cover band" types and the "original" types. This is even more pronounced when it comes to "tribute bands." There are those who find the concept repulsive, while others take a pragmatic view: "Hey, if you can play music and make money, why not? Beats digging ditches."

Well, maybe not. Rock and roll is sometimes incredibly hard work. A passage from the book summarizes things: "The members of Sticky Fingers and the Blushing Brides faced near poverty, small crowds, exhausting cross-country drives, and indifference from their peers and the world at large, in exchange for a few dollars and the chance to be onstage for a few hours."

Still, a good gig in front of an enthusiastic (albeit drunk) crowd is one of life's greatest highs, so that keeps these guys going.

Nevertheless, there is something unsettling about middle-aged men putting on wigs and doing impersonations of aging rock stars. A couple buddies and I could have formed a killer Elvis Costello tribute band back in the 1980s, but I'm not sure I'd want to be doing that now. You have to wonder how long the phenomenon will go on. Will it end with the last of the baby-boomers? Or will the nostalgia of the future involve aging hip-hop wannabes doing impersonations of Snoop Dogg? Stay tuned.

In the meantime, all you old school rock 'n' rollers and other aspirants to fame and fortune should get yourself a copy of this book. You're guaranteed to get a kick out of it and maybe even pick up some tips. It's a fast and fun read.

Steven Kurutz is a first class writer who can weave a fascinating tale about a long misunderstood facet of American society: the tribute band. Anyone who has any desire to learn the machinations of this particular pop culture phenomenom would be well served by reading this book!

I picked up this book over the weekend and could not put it down until I was finished. Author Steven Kurutz captures "the sights, the sounds, the smells, of a hard-working rock band on the road" to quote "This Is Spinal Tap", with both hilarious and sometimes pathetic outcomes.

In the book, Kurutz travels cross country with two leading Stones trib bands, Sticky Fingers and Blushing Brides, and in documenting the highs and (very) lows, he manages to capture the humanity in what is becoming a dying industry - Live Music.

While reading this book one realizes that both Maurice Raymond and Glen Carroll (the Brides' and Fingers' Micks, respectively) are doing their thing not only because they crave the attention of being a faux Mick Jagger, but because they genuinely love the music of the Rolling Stones, even if it is being played to a handful of people in a dive bar.

And that being said, which is more rock and roll to you: A drunk singer shouting over too loud guitars to 50 sweaty drunks, or 100,000 people at the EnormoDome who paid $300 to watch the Stones on the JumboTron?

I choose the former.

If you're gonna buy one book on rock and roll this year, this is it!

Kurutz loves his rock and roll, and LIKE A ROLLING STONE revels in the good ol' days when rock was king and musicians drank and did drugs like there was no tomorrow. His affection for rock shows through in every line, and before you know it you're right there in the van with Sticky Fingers, the east coast's most popular Stones tribute band. In one way or another it's been around since the 1970s, and its present leader, Glen Carroll, is an irresistible subject, sort of like the Falstaff of the tribute world. Yes, he drinks too much and yes, he's a liar, and no, he's not really a good singer, but Kurutz' writing is so persuasive I wanted the book to come with a DVD so I could see Sticky Fingers in action at one of the rundown nightclubs or frat houses they're booked to entertain in.

Sometimes it's life at the top, but more often Sticky Fingers' erratic financing make for tensions within the band. All of this is really intriguing, but the problem is of course, that it's really not enough material to make a book out of, and one gets the feeling Kurutz did all this research and then halfway through realized he had enough for a great magazine article, but that he was going to have to add more storylines if he wanted to get a book out of it. Thus we go back in time and meet with the original tribute band, the Broadway cast of "Beatlemania." Thus we go on the road with a second Stones tribute band, the damned-if-you-do, damned-if-you-don't Blushing Brides from Canada. Thus we are introduced to other sorts of tribute bands including some with real success stories, Dark Star Orchestra (DSO) which does the Grateful Dead, and ZoSo, the "ultimate Led Zeppelin experience." And in doing so, the focus of the book inevitably shifts away from Glen Collins and it becomes more about hardcore dollars and cents.

The cash nexus is never far from concern, yet what makes these tribute bands so endearing is that these guys aren't in it for the money--no, not really--they're doing something because they love it. And don't let me forget, also because evil life has got them in its sway.

Highly recommend this book for anyone that grew up listening to Peter C like I did and lived and breathed Michigan Rock N Roll ! Also recommend to anyone who loves Michigan rockers like Bob Seger,Ted Nugent etc. Very good reading. Just sorry it took me so long to leave a rating.

This book was a gift to me and after several pages, I dropped everything else and went cover to cover in a day! Peter C. reveals much of the story behind Michigan's great music scene of the late 60's and early 70's. Besides some fascinating tales, Peter also portrays an insightful look at life. If you were there, close, or even just intersted in one of rocks greatest eras, this book is a must read. Well done, Peter C. !

This book is the essential guide to the local rock scene in a time capsule. It is funny, rocking, edgy and rebellous the way rock should be!

Wow...I was a teen coming of age in the late '60s and early '70s in the southeast Michigan area. It was a fertile fertile hot hotbed of local rock and GREAT local radio. WTAC in Flint was an incredibly cutting edge force playing and promoting the best of national and international acts, but especially providing exposure for the likes of a young and up and coming Bob Seger, the MC5, Dick Wagner and the Frost, ? and the Mysterians, the Rationals, Iggy and the Stooges...it goes on and on. My impressionable musically hungry head was taken by Peter C. and later WABX in Detroit. What a scene...you really had to be there. I've been looking and waiting for such excitement, creativity and energy ever since. Peter C. lays it all out, all the excitement, all the innovation, all of the mind expanding, life changing scene was recalled and illuminated from the producer's vantage point. Great work Peter C. of a great and legendary time for local radio and local rock and roll! 5 stars ++.

Local DJ should be required reading for any rock 'n roll fan of any genre. Starting with the Beatles and working his way through the 60's and 70's, Cavanaugh spins a potent web of sex, drugs, and rock 'n roll as he saw and lived it. Based mostly on his experiences as the "local DJ" of powerhouse radio stations WTAC and WWCK, both ranked #1 nationally during his tenure, it's hard to believe that in the tiny town of Flint Michigan, so much happened in rock history.

It took me a while to read this book because I had to read everything twice to make sure I was actually reading what I thought I had just read.

Let me explain.

So here is concert promoter Cavanaugh, years ago, faced with whether or not he should book an unknown Australian band to play in Flint. Peter Cavanaugh is a scary judge of talent. For there, that night, for the first time in America, a band called "AC/DC" took to the stage. The opening act? The MC-5. It doesn't get any more Rock N' Roll than that.

I was born too damn late.

Because with each turn of the page (I couldn't put the book down) bigger, badder, and bolder stories unfold from a magical time which will never be repeated.

Like the night he booked a louder, more raw version of the Beatles. Their name was a bit confusing but Cavanaugh took a chance on them. They were from England so they had to be good, right? Their drummer got drunk and drove a "borrowed" Cadillac right into the hotel pool. Such would be the adventures when you book "The Who" for their first US appearance.

And as you read the stories -- and they get better and better with each passing chapter -- you start to realize that Dick Clark was more like a DJ version of Pat Boone compared to Cavanaugh. American Bandstand? Gimme a break, Cavanaugh was booking The Who and AC/DC for their first US shows!

And what local DJ would be complete without knowledge of radio frequencies, like the time he captured a GM executive on his car phone, taped what was little more than endless profanity, and held the world's largest corporation by their ball bearings threatening jokingly to release the tape?

For southeast Michigan natives, this book will blow your mind. For Rock fans, prepare to read what Rolling Stone magazine wished they could have covered.

To Peter Cavanaugh, rock legend. I hope the movie version comes out soon.

Lyfe Afte Cash Money is the way a trilogy should be. Can't no sequel touch this. Uncle Silk was a shot caller, and Ant was a great student. Prince was alwayz a Prince. This novel flowed real smooth like the best congnac money can buy. you will not be disappointed and you will have your nose so deep in this book that you think you are sitting right next to the characters as Crystell takes you on another ride in the mean streets of the "D". Mo, was a real lady and Carrington had a secretthat will make you go Whoa!.

Great ending to a wonderful Trilogy. This company has been riding under the radar putting out some really quality and entertaining material. No plageurism, no garbage, just straight hardcore, gritty and creative stories.
Silk's as good as dead with his disable behind, Ant's street wit and savvy definitely makes a reader yearn for more and the way that Ms. Stell grinds this story is orgasmic. If you aren't hip to the 'Prince Trilogy' definitely grab 'Hood Rich', 'Big Tymers' and 'Life Afta.'
I guarantee you won't be disappointed as like with some of those other trilogies, where the stories are like someone in quick sand.. sinking..sinking..sinking.. and essentially WHACK~~ Cornballs.. step to the side and let the 'Prince' through...

CSP, continue to grace us with this type of hard to find reading. One day, Random House, Simon or St.Martin's can hopefully see where the true 'Princess' of Urban Fiction reside and help get these Ultimate Stories to readers of Urban Literature across the Globe.

Crytal Perkins-Stell did an amazing job in the final chapter of the Prince Family Trilogy. This story is told from Uncle Silks point of view. You know how they say there are two sides to every story??? Well this is his side of the story. So parts of the past are woven into HIS side of the story and it refreshes your mind on what took place in the past books. Along with that there are more secrets and questions that were left unanwered previously are answered in LYFE AFTA CASH MONEY.

There is a part to this book that brought tears to my eyes--you know we have gotten to really feel the characters as if we really know them and their struggles so to come to the end of the story was a little sad. Although Silk tells his tale of the final chapter, there is a powerful lesson to be learned in this story. So please pay attention because I guarantee you it will have some sort of impact upon your own life.

This was an EXCELLANT read and I have been and will continue to be a fan of Crystal Perkins-Stell. Most definitely a 5 star read!!!!!!

`Lyfe Afta Cash Money The Resurrection......Silk Speaks' unveils a gangster's paradise that is clad in treachery, grime, drugs and crime. Romel Sylvester Prince aka Uncle Silk is unrelenting and all for the sake of having money, power and respect. Uncle Silk, a renowned G, has been spotlighted in `Hood Rich' and `Big Tymers.' However, nothing could have prepared you for the greed infected man himself. `Lyfe Afta Cash Money The Resurrection......Silk Speaks' is so in your face, that often times while reading, Unc himself is conflicted by his own selfish, deviant, no nonsense actions.

Can a pimp turned drug dealer who has reached legend status possibly pass on jewels of wisdom about his lyfe? Will a real G chose to live by the code, or will Unc be forced to reevaluate his mindset? While trying to discover what happened in the future, we walk through the past with Unc who is reflective on the things he's done. Will he discover that his life has a real purpose?

As a passionate reader of the Prince family legacy, I wasn't just sad that this was the end of the three book series, but worried that some lingering questions would go unanswered. However, I am pleased to announce that Essence's Best Selling author Crystal Perkins-Stell, not only answered those questions, but she has me feverishly working to make the magic happen for a fourth time!

`Lyfe Afta Cash Money The Resurrection......Silk Speaks' is a hefty read that unveils family secrets. Despite the editing issues, and yes there were a few, I loved it! I also loved how Silk's story syncs perfectly with its predecessors `Hood Rich' and `Big Tymers.' This is definitely a series that I would recommend for profound readers.

While in some instances, cash rules everything around ... one should never forget that you never could have made it with out....

4.5 stars

Silk has decided that crack is his new career path. Instead of getting himself involved and a possible one way conviction, he inducts his nephew, Ant, to handle all the day to day operations. Envious and jealous of Ant's rise, Uncle Silk decides to play the game on a personal level, which will cause irreparable damage to the entire Prince kingdom. Is karma soon to come knocking at his door?

Loved how significant the title is to the actual story. After reading part 3 in the Prince family sequel, I'm obliged to agree with the other reviewers, it's not time to let go!

Hood Rich
Big Tymers

The Queen of the Nile will soon be battling for historical significance with the Queen of Pop very soon. A unique take on the influence of Madonna beyond just hit records to a whole social expression that inspired other artists, feminism, and what it means to be an ambitious woman without apology.

Like so many, I find Madonna interesting. And I agree with the positive reviews of this book -- I really like it. The unique contribution here is the way the author discusses Madonna in ways that make "postmodern" an interesting, understandable, ans useful concept. And believe me, I am no fan of academic writing of or about the posrmodern. But this book can be highly and widely recommended.

Madonna:alot can be said about Her but Boring isn't one of them.thsi Book Explores the Many things that relate too the Artist&personna that is Madonna.this Book is Challenging&also puts Madonna into a Complete Perspective from start too finish.just like the Woman Herself it will keep you wondering more&what lays around the Corner.

In this book GC Guilbert shows how absolutely everything Madonna has ever done is packed with clever references. He doesn't mean that she's a plagiarist, far from it: she just uses her vast knowledge of (popular) culture, in a "postmodern" way. A fascinating read.

At last a book about Madonna that can be enjoyed by academics AND fans. There have been two or three collections of highbrow essays by various university eggheads that were a bit too hermetic. "Madonna as Postmodern Myth" is "intellectual" but crystal clear.The subtitle pretty much sums it up: Georges-Claude Guilbert does show the way the diva "rewrites" just about everything -- always cleverly -- and especially old Hollywood stars. Besides, it's a very feminist book, but a sexy feminist book (yes, it is possible). I'm sure every Cultural Studies professor is going to want to read it, as well as every Madonna fan who's ever wondered why it is exactly that makes her / him adore the "self-constructed" star, beyond the obvious: she's unique.