Music Books

I purchased this for my new grandaughter and my daughter thinks its great for naptime. She said the music is lovely and very relaxing.

Purchased this for my 7 month old grandbaby...she loves it and she puts herself to sleep while listening to it, nice long playing time...much better than the 5 to 15 minute wind up or push button crib mobile/toys. Very soothing and gentle. Highly recommend

Our 3 month old daughter loves music, and I have several classical CDs that we use at night for her, but this one is my favorite. When we put her in the crib and turn the CD on, you can actually see her calming down and drifting off to sleep. Even when she's wide awake and we put her down, the music seems to work its magic. She'll lie there, eyes open, but she doesn't cry because she's too busy listening to it. Within 15 minutes, she'll be asleep. My husband jokes that it works too well because it makes him want to sleep while he's still holding her!

I gave this as a Christmas present, and with all the noise and lights of the party my 9 mo. old nephew couldn't get to sleep. It was way past his bed time and all he could do was cry. So, his father put in the cd and the baby's body relaxed in his mothers arms, he blinked a few times, took a deep breath and went fast asleep in the middle of the party.
Everyone was pleasently stunned.

My 1 yr old daughter was actually scared of this CD the few times I have played it at bedtime. I think were I went wrong was if you are goign to get your baby to listen to bedtime music do it from day one. I waited way to long! Good CD though and I think it would help sooth to sleep if my daughter was younger.

The book burns, numbs, burns. The people are real. The history is real. "It was History she ran from," the author tells us, we who are prone to forget or deny, "and, to her, there was no stalker more tenacious, no trapper so cunning: its favorite victims are those who survive."

'Music for the Third Ear' is a deceptively simple and quick book. But it lingers, it doesn't go away, and it keeps you thinking about it long afterwards. There are so many levels that meet or careen into each other... It is an extremely saddening book, with no happy ending, and barely a ray of hope. It is pessimistic, as many of the characters are sucked down into and feed on their own vortexes of hate or need. It is a violent protest about man's inhumanity to man, and what to depths our egocentricity allows us to stoop---Mette feels all she does is OK because she is childless; Mesud rides on a cloud of ethnic hate that becomes its own reason to exist and be nurtured; Dr. lo Schiavo has no qualms about removing love and trust in the name of 'charity' and 'humanity', and so on. The only truly innocent one is as always the child, who might be the eternal loser.

A moving story that is relevant today. It tells us how war is a tragedy not only for its victims, but also for the children of the victims. After World War II the phrase "never again" became a mantra, but when is it going to occur? Read this book; pass it on to your friends. Help spread the word that today we should shout to our leaders around the globe "NEVER AGAIN."

Susan Schwartz Senstad could not have written a more timely and powerful work of fiction. The book is about the aftereffects of the rape genocide/ethnic cleansing policies carried about by Slobodon Milosevij on a couple coming back from their ordeal who meet up with a child of Auschwitz survivors, looking to take them in and "fix" what happened to them. .... In this powerful intersection of the Shoah that could not happen again, with the one that has happened and is now being debated--like its predecessor--Schwartz Senstad understands the human need to rid ourselves of survivor guilt, the resilience of the survivors of the Balkans and of other atrocities, and the great silence that, for the victims, is often the only possible response to what has happened to them. In this short and powerful tale, the main character,Zhelijka, a Croation Catholic woman, endures deliberate cruel and constant mass rapes, until she becomes pregnant by an anonymous father. Zhelijka's soon-born son becomes the pivotal character in the story. She calls him "Zero" and despite her strong ties to her child, is finally forced to endure yet another horror--she allows her Muslim husband Mesud to put the child up for adoption. Ultimately, the rejected child re-enters the lives of the four adult characters, Zhelijka and Mesud and Mette (the first-generation holocaust survivor) and her Norwegian husban Hans Olav.A perfect book club book, which manages to transcend its sad moments with emotion writ large and beautifully, a la Alice Walker or Joyce Carol Oates. Destined for the Oprah show! Thanks to Picador, USA for publishing a paperback version that exceeds the beauty of "The Red Tent."

Music for the Third Ear in eerie synchronous plotting seeks to and successfully connects two twentieth century holocausts, the Nazi atrocities and the Yugoslavian. Although fictional, it achieves an immediacy and a depth of understanding, particularly about the victimization of people from the Bosnian War. By putting names, faces, and personal histories in front of us, we can't avoid becoming emotionally involved.

I will just briefly outline the plot here. The details are important, but what lies underneath in meaning is more so. A Yugoslav couple, one a Bosnian Muslim and the other a Croatian Catholic reunite five years after the end of the Bosnia War in Rome. The woman has a son as a result of gang rape during the war, whom her husband forces her to give up to a childless Italian couple. The Yugoslavians immigrate to Norway, where they stay temporarily with a childless couple, the woman being the daughter of Jewish holocaust survivors. The child, in the meantime, has severe psychological problems and eventually becomes a pawn between the Italians, the Yugoslavs, and the Norwegian couple. Each family is already psychologically scarred, some as a result of war, some for other reasons.

The story is told in flashbooks. As we are taken through their lives what becomes painfully evident is that we can only watch, but are powerless to stop another tragedy in the making, even after war is long over. What makes it bearable at all, is the loving insight of the author, a psychotherapist, who tells the story in way that enhances our understanding and never intrudes.

The title is not entirely clear to me, but I gather that it relates to a method of psychotherapy described by the psychoanalyst, Theodore Reik, in which listening, not just with the ears, but with all of one's senses and one's soul, is revelatory and crucial to understanding and healing.

The 3 main aspects that anyone seeks when getting into the music industry are money, music and success. These 3 are discussed in this exceptional title that is a true insider's guide to the music industry. Good amount of information put into an easy to understand structure make this book a winner. However, a far better book is "How To Make A Fortune In The Music Industry By Doing It Yourself: Your Personal Step-By-Step Guide To Having A Successful Career In The Music Business. ... To Sell Music, Book Shows And Get Noticed!" by Ty Cohen, a title that is breathtaking by definition and takes you to places that no other book takes you.

This is a must have book for everyone who has even daydreamed about writing their own music. Knowledge of copyright law is more important than ever, and this book is just the reference for you if you're trying to make it in the music business. Plenty of times unscrupulous agents, managers, and record labels get artists to sign things they don't really understand, ending up with all the rights to a band's entire efforts. The fat cats rake in the cash while the actual band members make a measly one percent, all because they didn't understand their rights in relation to their intellectual and creative property. A well written, thoughtful book like this one, crafted by experts, can help protect the interests of the musician and therefore shouldn't be overlooked.

As a student of USC's Music Industry program, I not only had this book as a course text, but also had the extreme privilege of having the authors as instructors. I have used the book as an invaluable reference as well as a recommendation or loan to fellow songwriters who needed more information on how they may find a successful strategy toward a career in the industry.

Completely lacking any vague ambiguities regarding the often "mysterious" inner workings of the music industry, the Brabec brothers have clearly defined realistic expectations for those entering the music world from any angle. Straightforward and to-the-point explanations of just about every aspect of the business, especially on the publishing side of things, render this book an essential part of any student or songwriter's library.

Also great for the the vaguely curious, this text is a steal at any price!

Music, Money, & Success is a must read for anyone interested in music business. As a Vice President/General Manager in the fast moving industry of music publishing, I need to keep abreast of all the changes and any new developments that take place. The revised edition of this book has allowed me to do just that. I strongly recommend this book to anyone trying to keep up with the business and, most of all, anyone who is interested in getting into the business. It is written in a way that all people can easily understand the "ins and outs" of the industry and would enable anyone to grasp the knowledge to enable them to start on the road to a career in the music. It has great information on how the "web" has affected the music business and also contains all the new royalty rates for CDs, Motion Pictures, Television, and other Media.

"How did you arrive at those percentages?" I asked a colleague, after he had presented a very complex licensing proposal for a revue-style stage show. His answer embarrassed me, because I was very familiar with both of the books he cited, one of which was this title, by Jeffrey and Todd Brabec. The Brabec twins' track record goes back thirty years or so. About 1970, when I was first setting up my music companies, both brothers worked for ASCAP, and helped me with some business details. Later on, as the dust-jacket bio explains, Jeff went on into private practice, and is now associated with the Chrysalis Group. Todd has stayed with ASCAP, and is currently Director of Membership, a position that gives him high visibility in the L.A. music community. In other words, these guys know their territory: when they talk about "the inner workings of a music publisher," they lead you into a world seldom seen by the uninitiated outsider. When they talk about "sources of income," their list is exhaustive, not ending until they've included all possible licensing revenues, even "greeting cards" and "dolls and toys." When they tackle co-publishing agreements with this same attention to detail, they are recommending strategies many enterprising and entrepreneurial songwriters will want to try, sooner or later. And we're just beginning: yet to come are the fields of records, television, movies, live performance income, and, finally

musical theater, where my colleague had discovered more complex principles and formulas for computing royalties than I had seen before. Thanks, Jeff and Todd, for taking time to create this book. Okay, sure, you'll make some money with it-costs thirty bucks, for heaven's sake. But still, getting these concepts out of your heads and onto our desks is a major service. While the value of this material is obvious to anyone involved with licensing or contracts, it can be equally helpful as a university text. Consider it for honors work in music business, or for independent readings projects. Now that the book has been around a few years, it has found its way into the libraries of many star-level artists and songwriters, who regularly sing its praises to anyone who will listen. Ron Simpson, School of Music, Brigham Young University. Author of MASTERING THE MUSIC BUSINESS.

This is the most informative/coolest book, if your looking to get involved in the music business, the book is aweosme, but the guys are even cooler

This book is a great education in what a music supervisor does and needs to know. The spotlight interviews are informative and give the reader a practical application of the text. The technical aspects of the job were eye opening and extensive. A must read for anyone who thinks music supervision entails picking songs from an iPod and placing them to picture. I have a greater appreciation for good music supervisors after reading Music Supervision.

This book came to me out of nowhere and consequently turned into one of the most inspiring, captivating, and education texts that I have ever read. In this, the summer of 2006, I have currently been working as an intern for MTV On-Air Promos. There, I met David Hnatiuk and overlooked his profession as a music supervisor. Having interest and aspirations for his work (being a music industry and sound recording major), I decided to purchase "Music Supervision".
So, I got it- I read it- and loved it!

Reading "Music Supervision" flat out bridged the gap between everything I learned at the University of New Havem concerning the music industry and sound recording and everything that was coming as new to me from MTV about broadcast television and its promotion. The books facets including, but not limited to: Legal Issues, Sound Design, Licensing, DAW discussion, working with producers/directors, etc. are all topics that I learned and dealt with at school and at MTV.

This coincidence of reflection between these that I encovered was simply amazing and will prove to be beneficial to my success and education at MTV and as a music student.

Aside from teaching me about my loves and interests, the book also took my vision of my career and future life, twisted and distorted it, and showed me it as I have imagined before. Now, since the book educated me on the subject and how to succeed in it, being a music supervisor is now a career path that I am interested in pursuing. It entails the music industry. It entails sound recording. And hopefully, it'll someday entail me.

Congratulations to Ramsay Adams, David Hnatiuk, and David Weiss. They have succeeded in writing a book that is highly informative, useful, and very insightful. Whether you are interested in pursuing a career as a music supervisor, or would simply like to do research on the profession, this book will far exceed your expectations. It's an easy read that features random interviews from experienced music supervisors that candidly articulate what the primary considerations are in selecting music, and shines light on the process of "spotting" and "auditioning" songs for placement, in addition to offering helpful advice on how to deal with challenges that music supervisors face in their position such as difficulties in obtaining master, sync and mechanical licenses; working harmoniously with egotistical producers and directors; managing creative conflicts; preventing legal problems; dealing with financial constraints; and marketing their services. A great educational and reference resource.

I bought this book because I wanted to learn how I can get my songs into movies and tv. I heard that was the best way to make money and get exposure. This book gave me the answers and even the names of people who select music for films and tv. I already got one of my songs into a film that competed in Tribeca Film festival. Some of the writing is a little long handed but the information is really right on. If you are a songwriter who wants to get your tunes into the movies, this is the book for you.

(Note: Portions of this review have appeared in lesser detail elsewhere.) Simply stated, Richard Rodgers is America's finest composer. In our history, no other composer's music equals the consistent and prolonged quality, innovativeness, range, and sublime beauty of his compositions. Rodgers'exquisite, unforgettable melodies are crafted with such subtle ingenuity and sophistication that they never lose their freshness or their appeal.

Rodgers' musical genius was matched in two legendary partnerhips, the first with lyricist Lorenz Hart, and the second with librettist-lyricist Oscar Hammerstein II. Rodgers' collaboration with these two gifted men elevated and transformed musical theater into a true and distinctive American art form.

There is a knee-jerk tendency by a few so-called musical "experts" to site Gershwin as the greatest American composer. But discerning authorities and audiences know better. The ENTIRE BODY of Richard Rodgers' work stands the test of time better than Gershwin's, or for that matter, better than the music of Berlin, Kern, Porter, and Arlen, all gifted composers.

Rodgers' music is universally admired and respected generation after generation among all kinds of audiences. Few, if any of his compositions sound dated which cannot be said for a significant portion of Gershwin and other composers' music.

Rodgers' music is written so brilliantly that it seems organic, as if nature itself had perfectly strung together a series of notes which sound no less than heavenly, and which seem as if they could not have been structured in any other way. In some of Gershwin's music, particularly "An American in Paris" and "Porgy and Bess", the music seems stilted, grandiose, even pretentious.

You never get that feeling with a Rodgers' composition. His music always has a quality of lightness, fluidity and sponteneity something missing in portions of Gershwin's music. Some of Gershwin's music feels leaden and redundant unlike Rodgers' works.

The breadth of Rodgers' range as a composer was limitless. And no other composer was better than Rodgers in translating character and plot into music. Here is a man who wrote scores perfectly suited to shows as diverse as "Oklahoma", "Pal Joey", "Carousel", "Sound of Music", "Cinderella", "King and I", "No Strings", etc. The list is impressive.

"Musical Stages" offers a detailed account of Rodgers' life and his incomparable career. In it, you will meet Rodgers' two most famous collaborators the undisciplined, gifted, and lovable Lorenz Hart, and the idealistic, eloquent, and reliable Oscar Hammerstein II. Rodgers also reveals behind the scenes stories about Mary Martin, Yul Brynner, Gertrude Lawrence, Julie Andrews, and other luminaries of the musical theater.

This autobiography should be required reading for fans of musical theater and popular music.

I reviewed that book a few years ago,but i feel i could give a better review of it now.Let me be objective here by saying that RICHARD RODGERS was the best AMERICAN composer of the previous century.This book of memoirs gives you a real insight of the music business at the time of mister RODGERS.The anecdotes are very accurate;they show the good and the bad aspects of the music business.RICHARD RODGERS learned early in his career that you are always as good as your last success,and that producers are the kings of BROADWAY.The best example of this is that even with all the hits he had,RICHARD RODGERS never could give ALLEGRO a second chance on BROADWAY.A show that failed is almost never revived again.The man has a lot to say about creativity;the way one must always stand tall even in adversity.One of the most moving passage of the book is the retreat of LORENZ HART and his death at the age of 47.RODGERS certainly knew the value of a partnership.That he could work with both HART and HAMMERSTEIN demonstrates how good he was.Nobody in the history of AMERICAN music has done it better.Out of the 40 shows that he created,10 have become classics of the repertoire.That's quite a feat.If RODGERS was the best,it's simply because he was the most passionnate and the most talented;a perfect combinaison.In my book,there will never be enough revivals of his shows.Buy this,you'll become a fan too,this is guarantee for a lifetime of musical pleasures.

Please read my review preceding this one too. Today is November 4, 2001, and the Emmy Awards have just been telecast on CBS. To close the show, the magnificent Barbra Streisand sang a tribute to the unfailing courage and spirit of the American people whose lives have been inalterably changed by the terrorist attacks of September 11, 2001.

Of all the great American songs which could have been chosen to comfort and hearten the American people, the one Streisand sang was "You'll Never Walk Alone" composed by the incomparable Richard Rodgers from the Rodgers and Hammerstein musical, "Carousel". The poetic, inspirational lyrics by Oscar Hammerstein II are superbly matched by the sheer eloquence, beauty and emotional power of this soaring ballad. "You'll Never Walk Alone" is one of those songs that once heard, can never ever be forgotten.

Coincidentally, airing opposite the Emmy awards tonight was the PBS special "American Masters, Richard Rodgers: The Sweetest of Sounds" a documentary on the music and career of Richard Rodgers.

In a way, tonight's televised events were a double tribute to a man who was an American genius. He was in my opinion the greatest composer of popular music ever. I venture to say that his entire body of work stands the test of time better than the music of any other great American composer including Gershwin, Berlin, Porter, or Kern, etc.

I don't think that any of these other supremely gifted American composers could have demonstrated the prolonged and consistent brilliance and unbelievable range that Rodgers had. Here is a man who wrote songs as varied and memorable as "Manhattan", "If I Loved You", "Lady is a Tramp", "Edleweiss", "My Romance", "Mountain Greenary", "Mimi", "Hello Young Lovers", "Oklahoma" which incidentally is now the official anthem of the state of "Oklahoma", "My Funny Valentine", "Shall We Dance", "Bewitched", etc., etc.

It seems impossible that one man is reponsible for so many different styles and such a consistently high level of artistry and ingenuity over many decades. And yet Rodgers was.

Rodgers has touched and illuminated audiences generation after generation. He has given people music which is infinitely accessible, yet sublimely crafted. Simply stated, no other composer can equal Rodgers' accomplishments and the impact of his musical legacy.

Since RICHARD RODGERS is my favourite AMERICAN composer ,i could have killed to have that book, and i was not disapointed.One of those few autobiographies that are completely honest.You learn about his family upbringing, his complex relation with LARRY HART,the way he and OSCAR HAMMERSTEIN worked together ,and the way both were affected by the failure of ALLEGRO.You also discover that most movie producers didn't really care about music ,and that RICHARD was glad to go back to BROADWAYin 1935.It is also interesting to read the introduction of his daughter MARY, saying that she likes what other people likes about him:his music, but she also adds of course i loved him.RICHARD RODGERS was probably a very private person, who was in a way forced to live a public life because of his profession.

There are a handful of composers of American popular music whose body of work is revered generation after generation. Kern, Arlen, Gershwin, and Loewe come to mind. But at the top of the list is Richard Rodgers.

In my opinion, Rodgers is the greatest songwriter in the history of Broadway and popular music. His range was simply astonishing. He could write jubilant, folksy music as in "Oklahoma" or jazzy sophisticated tunes as found in "Pal Joey". He could create soaringly romantic melodies such as those in "The King and I" or inspirational and spiritual ballads as presented in "Carousel". Many of his songs have become popular standards as well.

Rodgers adapted brilliantly to a variety of subject matter. And the longevity of his illustrious career is enviable. "Musical Stages" not only chronicles Rodgers' life and work, but it is also an overview of the development and maturation of American musical theater to which Rodgers contributed mightily.

In this autobiography, you will get to know some of the true giants of American popular music in particular Rodgers' two lyricists: the impish, undisciplined, yet lovable genius Lorenz Hart and the wise and idealistic Oscar Hammerstein II. Both of these men wrote many of the best lyrics ever composed for Broadway or popular music.

You'll also meet acting luminaries such as Yul Brynner, Gertrude Lawrence, and Mary Martin among others. "Musical Stages" is a rich addition to any theater and popular music buff's library. Read it with delight!

My 3-year old loves this book! After reading it every night for a month or so, he began to recite the entire book to me from memory. I can't even remember it, and I'm the one reading it! It is a lovely story about giving and helping and kindness. Sweet and thoughtful and well-written. A keeper for years to come!

What a sweet book, especially for children who love trains. It is very soothing as I am lulled when my husband reads it to my son!!

We bought this for our 2year old son for Christmas that is becoming really fascinated with trains. It is a wonderful story and isn't just enjoyable for him, but me as well. It is a book that is captivating for all ages and highly recommend.

My five-year-old has been a Thomas the Tank Engine fanatic since he received his first video on his first birthday. I stumbled across this book in an outlet mall and was captivated by the illustrations. The story is simple and sweet and we read it every night at bedtime. I've bought copies for our friends with little ones with similar interests. This book is well worth the purchase price!

I bought Niccolini's Song for my 4 year old son, because he is in love with trains and hates going to sleep. The endearing story and the lovely illustrations capture a child's imagination and it is a pleasure to read just before going to sleep. He loves it and it is one of his favorite bedtime stories. At least it makes him get IN the bed and stay there.

In Notes From the Midnight Driver, the titular "Driver" is Alex Gregory, a teenage boy with divorced parents, who in a fit of bad judgment takes a drunken drive to his father's house, resulting in Alex's arrest and the decapitation of a lawn gnome. As punishment, Alex is sentenced to community service with the elderly and ailing Solomon (Sol) Lewis who is notoriously hard to put up with. Alex's daunting task is to both teach and learn a "life lesson", but Sol seems only to want to criticize and mock his newest volunteer. Eventually, however, the unlikely pair open up to each other. Through a series of letters between Alex and his sentencer, Judge Trent, Alex's progress towards maturity is revealed. He loses his selfish exterior and is able to understand friendship, love and family in a way that creates a ripple effect into the lives of his friends, his parents, and even the rough-talking Sol Lewis.

Jordan Sonnenblick, author of Drums, Girls and Dangerous Pie, proves once again to be an expert at mixing serious and sad situations of teenage life with dry wit and sarcastic humor to provide an engaging and powerful story. Sonnenblick's teenagers are detailed and realistic and he does a great job of creating likable characters that are easy to relate to, while avoiding cliches and stereotypes that run rampant in other young adult novels. Though not a true sequel, Steven and Annette from Sonnenblick's Dangerous Pie also make an appearance as back up characters in Midnight Driver and the theme of music as an outlet for teenage emotion also runs through both novels. Overall, the mixture of laughter and tears, sadness and sarcasm make the book a delightful and poignant story.

It's not often that a feel-good story with its moral out in the open gets away with a 5-star rating, but Jordan Sonnenblick's NOTES FROM THE MIDNIGHT DRIVER manages to pull it off. Simply put, the novel follows the progression of a high school junior named Alex who must do community service in a convalescent home to make amends for his drunk driving conviction and suspension of license. The cantankerous old Jewish gentleman he's assigned to (named Sol) makes life miserable for him at first, but then some revelations begin to take place, with ramifications that go beyond the convalescent home and into every aspect of Alex's young life.

Yes, you can argue that the "set-up" is a bit contrived -- having your impulsive protagonist get rip-roaring drunk, driving to his estranged father's house to tell him off, and never making it due to an unexpected date with an unfortunate lawn gnome and the emergency room of a hospital -- but all is forgiven thanks to the winning chemistry of Alex and Sol, who are like fire and ice, oil and water, nasty and naive.

As subplots, Sonnenblick provides the marital woes of Alex's parents and his own attempts to convert a "just friends" relationship with a blackbelt beauty named Laurie into something romantic. And although there's some typical YA, school-side bullying episodes, the heart of this book is in the convalescent home where aspiring guitarist Alex eventually brings music and new life to an old man stricken with emphysema (overtly) and grief (covertly).

I was ready for a predictable ending and got it -- but with a twist I did not expect. In any event, it all works and readers will buy it. It's always good to read YA fiction that's carried by characterization and not plot alone. No, not YA no one under 18 will read, but YA that they will -- and willingly. This is a great addition to any home, school, or classroom library. Recommendation: buy.

Notes from the Midnight Driver is narrated by your average teenage boy (Alex)- its bound to be funny. But when an accident brings Sol, a grouchy man, into Alex's life, the story takes a heartwarming turn. At first Alex and Sol don't see eye to eye- Sol constantly verbally slams Alex, they argue- but after a while they find one thing that holds them together- music. It's a good read for all ages- it's got old people, cars, a little romance, and lawn ornaments.

Not exactly a sequel to Drums, Girls & Dangerous Pie but you will see some of the same characters and be back in the same high school. Notes from the Midnight Driver also deals with a serious topic but lets you laugh your way through it. The main character begins the book by seriously messing up; he gets drunk and into a car. Fortunately only a lawn gnome was injured and the stupid kid gets a chance to straighted out his life. He ends up with community service with a cranky old man who never gives him a break but teaches him about life and death.

Jordan Sonnenblick keeps getting better. NOTES is the story of an angry adolescent - even angrier than most! Alex's parents have gotten divorced and after drinking an excessive amount of vodka, he's going to just drive over and tell his dad how angry he is. Luckily, he doesn't hurt anyone when he crashes the car, but now he is even angrier, because he has to spend time at an old folks' home talking to possibly the crankiest man in the whole place - Sol. Sol's tough love is hilarious, poignant, and ultimately effective. Great book, great read, great for kids just starting to drive or even just thinking about starting to drive. I'm using it with my ninth graders right now, and they love it!

What a journey! A thrill ride to other worlds- your world? Our guide, Susan, fillets her true-self for all to feast as she allows us to experience her emotion, vulnerability, and STRENGTH. This book opened my mind, engaged my imagination, and gave me hope... What a gem!

This book is like a guide through one's own personal reality into the subconscious and beyond into hidden worlds, like dreams, and many other altered states. Fascinating concepts on time and no time, reincarnation, karma, life choices, and even death and spirits. This book is above and beyond because it frees one to open their minds to encompass the scope of life beyond what we understand without adhering to any particular belief system. It is kind of like the more you open, the richer your life becomes. The whole book gives you an 'ah hah!' kind of feeling, a sense of constantly being enlightened. A good book to read over and over.

I am reading this book for the third time. It is SO packed with incredible insights and usable thought processes I was folding most every page so I could go back for reference. It was very well received at our womens' health fair in clinic. Kalior is my new favorite author, I have read all 4 of her books. Some fantasy, all life enriching.

This book is a most soulfully interwoven journey the dives deeply into the adventure of self-exploration. It reflects all of life's internal issues on multiple levels and is cram packed with plenty of real substance. A very courageous book to steps out of the norm and yet is delivered in the most delightful way. It's brilliant!


This writer Susan truly has an amazing gift!

Linda Post

This is an extremely amazing book. It takes you on a very deep journey of love and life. Very inspirational. Susan did a wonderful job on this. Thank you.

As previously said, this is a very well and beautifully writen errr... memoir. The cover tells you the whole story of what to expect inside. At first glance Alec dancing appears as a comical figure almost, but as you look closer you can see he is in some sort of agony. And as the book moves on, it is hard for him to not show his melancholy.
Despite being a bit of a emotional downer, this is still a very worthwhile read for any of his fans.

The journal of an extraordinary gentleman, one of the greatest actors ever to grace stage or screen. His reflections on his career are moving and perceptive, totally lacking in self-aggrandisement. His thoughts on the whole "Star Wars" phenomenon are particularly witty but smack of the desperation of being hounded by that film's fans. It's tragic that this great man may only be remembered by modern generations for his appearance in that opus instead of for his work in the Ealing comedies, "The Bridge on the River Kwai", his lengthy stage career and his magnificent turn on TV as George Smiley.

Alec Guinness is undeniably one of the most gifted actors of our times, and now, with his offering of "A Positively Final Appearance," we get to know something of the man behind the mask. This journal, kept between the summer of `96, and 1998, is chock full of insightful musings, reminiscences and anecdotes that are a delight. He shares his love of the theater, discussing many of the plays he attended during this period, and gives comments on recent movies, as well. An avid reader, he talks enthusiastically of favorite authors and books; his love of literature is unmistakable. The stage is his first love, however, and he speaks fondly, and frankly, of many of the plays he's done, and of his experiences with many of the actors and directors with whom he has had the privilege of working. He invites you into his private life, discussing the love of his life, Merula, and discoursing on their life at home, as well as their many travels. You learn what the greatest regret of his life is, who some of the people are he admires most, and a few of whom he could do without. He explains his negative attitude toward the "Star Wars" phenomenon, and addresses many of the events, large and small, that have in some way affected his life, and helped mold his perspectives. His concern over world events and the human condition is poignantly evident. Guinness writes so fluently, you can almost hear that distinct, familiar voice; you seem to be listening, rather than reading. There is a dignity and charm to his words that reveal, to some degree, the man behind them. That he values his privacy is apparent, and it becomes very clear that he is not the most accessible person, yet without any rancor; he holds his fans in high esteem, but there is a sincere humility to the man, who simply doesn't feel worthy of all the fuss. In a world seemingly rife with crass sensationalism and indifference, "A Positively Final Appearance" is like a tonic to the soul; it is so refreshing to discover that somewhere elegance and refinement still exist. My positively, final word on this book is that it is a joy, and should not be missed.

I picked up this book because I like Alec Guinness' work in "Lawrence of Arabia" and his other David Lean films (not because of "Star Wars" which I can take or leave). To be honest, I was worried it might be kind of boring.

Well, it was not boring -- it was delightful. The man was full of many profound observations about life that he communicated by writing about everyday things such as the birds in his yard or the weather. His vivid memories of his stage career and the people he knew were vastly entertaining. I was surprised to find him to be a humble, not-too-well-off everyday kind of man, not some fabulously rich egomaniac as I had supposed him to be.

Even though I could not be more different from him politically, I still enjoyed reading his views on politics. It was like talking to a dapper, well-bred older gentleman you bumped into on the street. His writing was assertive, yet polite and genteel.

If you miss reading this book, you've missed a simple pleasure that will make you smile. It's worth buying!

The late Sir Alec Guinness was a lovely writer, and with this, his final memoir, he improved vastly over his previous gift to us, MY NAME ESCAPES ME. Whereas the latter was strictly a selection from his diary, with this Guinness moves beautifully from journalistic descriptions of day-to-day events (from eye surgery to walks with his wife, Merula, to the indignities of moving slowly in an ever fast-paced and impolite world) and wry reflections on current events to anecdotes spanning his entire career in theatre and film. Each chapter is arranged by a theme, mostly seasonal, but they meander charmingly.

Those interested in his encounter with the church and his beginnings as an artist should find his autobiography, BLESSINGS IN DISGUISE. Those who might want reflections on STAR WARS will be disappointed. When one gentleman asked Guinness for an autograph from Ben Kenobi immediately after mass, Guinness admonished him, "Not in front of the parishioners!" and disappeared as nimbly as a young Jedi.

10 stars! I agree with all of the previous reviews here, please read them all! I just want to add that it is a very unique book, heavily endorsed by the likes of Tom Waits, Allen Ginsberg, and others (on the most recent editions' liner notes). I have been a career pro musician for over 30 years and this is one of Thee Best true stories about the origins of Jazz music, America's greatest original art form, and about All music for that matter, that I've ever read. We Love you, Mezz! Also want to point out that Mezz was a sideman musician on many of Fats Waller's great recordings, that's how I first came to know of him. He played inventively with humor and with tons of feeling on all of the Fats' stuff.......check it out!

This is quite a yarn. I leave it to others to debate Mezzrow's place in jazz history. I found it interesting as a social study. Tales of 1920s gangsters and prohibition, the Chicago and Harlem music scene, and race relations. Of course, it's not always clear how much of this is true and how much may be a product of Mezzrow's (or Wolfe's) desire to make the story better.

For me, Mezzrow came across as the ultimate wannabe. He wanted to be a black jazz musician from New Orleans. He was a Russian Jew, born in Chicago. He lived the life, the music *was* his life (except when opium was his life), but he could never fully be what he wasn't.

Compare, for example, Louis Armstrong's autobiography "Satchmo." Armstrong matter-of-factly tells about his life, not wanting it to be anything else. Mezzrow is always trying to be something he isn't and never can be. He was an interesting character.

It's a good read.

Milton "Mezz" Mezzrow was a white jewish kid who was born in Chicago in 1899. In his late teens he discovered the jazz music that was being played around the south side of Chicago in those days. "Mezz" fell in love with the sound of early jazz and with the excitement of the music scene. Chicago was a jazz center then, and Mezzrow heard many of the great pioneers of the music including Freddie Keppard, Joe Oliver, Louis Armstrong and many others. Soon he bought a clarinet and began trying to play like his heroes.

The club owners who employed Mezzrow were prohibition era gangsters including Al Capone. The gangsters were interesting louts. Capone once wanted Mezzrow to fire a girl singer who was developing a romantic relationship with Capone's younger brother. Capone said, "she can't sing anyway." Mezzrow was so upset that he told Capone, "why, you couldn't even tell good whisky if you smelled it and that's your racket, so how do you figure to tell me about music." (sic) Feisty!

Mezzrow wrote this book in 1946, and he uses 20's era slang to tell his story. This is as groovie as a 10 cent movie, jack. It's also fun.

Mezzrow's maniacal enthusiasm for early jazz is endearing. Not many people who were actually present at the time considered jazz music to be important enough to write books about. Part of Mezzrow's purpose is to convince the reader that jazz music is important. One of the earlier reviewers compares Mezzrow's book unfavorably to Louis Armstrong's autobiography, Satchmo. Armstong's book is good, but Mezzrow's book is more honest than Armstrong's. Armstrong was born into dire poverty. His mother may have been a prostitute, and he was placed in an orphanage at an early age. His book cleans up the criminals and murders in his story so that they are merely "colorful characters", and he leaves out as much unpleasantness as possible. Mezzrow tells more of the whole story. He candidly discusses his drug experiences, and his jail sentences as well as his happier times.

An added bonus to this book is that Mezzrow leaves out all that boring background information that plauges other books, like who his grand parents were and what his childhood was like. Mezzrow's book starts right off with his discovery of music in Pontiac reform school.

If you like this book, or Louis Armstong's book, another good book by an early jazz musician is Jelly Roll Morton's book, Mr. Jelly Roll.

the hippest trip around...this book will grab you by the soul and spin you around. reading it changed my life.

Often considered a highly unreliable autobiography, 'Really the Blues' is really an insight into the personality of Mezz Mezzrow rather than a factual retelling of his life events. Milton 'Mezz' Mesirow was a Jewish-American jazz clarinetist born in 1899 in Chicago. Mezz quickly showed a penchant smoking marijuana early in his life. But he also showed a penchant for jazz music, like his mentor Louis Armstrong, for whom he briefly may have served as manager.

Although Milton "Mezz" Mesirow is generally remembered as not being a very technically skilled clarinetist, Mesirow in-fact was very knowledgable about his instrument and about the workings of the jazz music industry. Milton's life was often a reflection of the demands of the music industry. His personality could best be viewed as a product (or reaction) of the rough-and-tumble environment of mob-controlled, Prohibition-era Chicago. Due to the uncertainty of the circumstances abound, Mezz was a fearless rebel rouser. He took risks, such as smuggling some twenty joints into a New York night club. He was stopped and caught by the police, a violation for which he was arrested and taken to prison. When he arrived, Mezzrow successfully persuaded the prison guards to let him stay in a black section of the prison by convincing them that he was African American.

In addition to music, race relations emerges as a major theme in the autobiography. Mezz married a black woman, played music like a black person, and was more interested in black culture than white culture. Mezz also dealt marijuana in spades. His marijuana dealing perhaps earned him higher distinction than his jazz playing. In the lingo of the time, "Mezz" became slang for marijuana. Milton also gained the nickname "Muggles King," at the time "muggles" being another slang word for marijuana.

The fast writing style featured by Mezz and Bernard Wolfe makes 'Really the Blues' a fast-paced, entertaining, and image-packed read. Mezz's narrative style is a self-assuring one, making 'Really the Blues' read as if Mezz were present in the room and actively trying to engage the reader. Consequently, the insight that the reader gets into Mesirow derives not just from the stories, but in large part from the narrative style itself. Mesirow's psychology is revealed to the reader through his nonchalant word choice, liberal syntax, and the larger philosophical method by which he organizes his book.

Reading 'Really the Blues' is an experience. Mezz takes the reader on a ride through another time, an era defined largely by the times. The reader is also given an entertaining educational look at the life of an important, if somewhat marginalized early jazz musician, Milton "Mezz" Mesirow.

* You may have noticed that my last name, Mesirow, is the same as that of Milton Mesirow. There actually is a familial relation. My grandfather was a first cousin of Mezz (although Mezz was a good deal older). My grandfather kept up on what Mezz was doing and introduced me and my brothers to the legacy of Mezz Mezzrow.