Music Books

The complete story of a legend: Canned Heat. When you read this book, you are with the band year after year. Great itme for anyboby like the music.

I thought this book was really well written and all the stories told throughout were very interesting. Love Canned Heat and it is kind of sad in a way, but it's good to know what happened. Fito rocks!

Being a serious blues player and fan I've never been partial to Canned Heat's music though I'm pretty familiar with it. I did buy the LP Hooker and Heat, which I like. Alan Wilson was a fine harp player for sure and John Lee Hooker was in good form. I'm not going to run out to buy any Canned Heat CDs now, but after having read this book I'm sorry that I never heard Canned Heat live. I once read a comment about Son House to the effect that he doesn't play the blues, he IS the blues. Canned Heat, more than any act in history, based on Fito's account, lived the blues. These poor devils went through a seemingly never ending litany of tragedy, death, injustice and suffering in their incredibly long existence (which continues to this day) and yet they survived. That, after all, is what the blues is all about. Surviving tragedy with strength, humor, love, and often drugs and/or alcohol IS the blues. Few blues performers (and no bands) have paid the dues that Canned Heat has paid. This makes Canned Heat pretty special in my opinion.
Fito's account of the band's journey through the ups and downs of life and show biz is heartfelt, wise, funny and very well written. The book is the best rock biography I've read in a long time, maybe ever. I found myself really caring about the members of the band including the many who only briefly joined and left. The accounts of self-destructive core members Bob Hite, Alan Wilson and Henry Vestine are tragic and inspiring at the same time. Fito doesn't pull any punches when discussing any aspect of the band, it's members or the many managers, wives, girlfriends, bar owners and fans that the band came in contact with. He's a wise soul who understands human nature very well and it comes out in every page of this informative and entertaining book.

I usually don't like biographies too much, but with Fito De La Para, it's different! It's about one third biography, and two thirds the saga of Canned Heat and it's members, and their ill fates. It tells about the life and death of Alan Willson, one THE greatest harmonica players of his time, and fleshes him out in a way that just listening to the old albums can't do. The same thing happens with "the Bear," Bob Hite, and Harvey Mandel, and each of the later members that replace them. Many, Many great pictures! It's drugs and chicks and death, just like the title says, but Fito retains hope throughout, and is a bouyant narator who takes you on his personal ride from illegal alien to superstar to heir to the "World's Premeir Boogie Band!" I read it all, then handed it off to my Dad, with my brother waiting in the wings to grab it next! Get it while you can!

Written by Canned Heat drummer Fito De La Parra, this book is a tell-all tale of rock and roll excess. Only a Latino could pour his heart out the way Fito does here. His love of the blues, love of his fellow band members, his anguish at the deaths of Hite, Wilson and Vestine are expressed here vividly and emotionally. Of particular interest are some great stories about their most loyal fans; bikers, as well as the usual alcohol abuse, over-the-top drug use, and dalliances with females, some of them groupies, including the Plastercasters, The Butter Queen and sweet, sweet Connie. A must-read for all fans of rock and roll, blues and " the road ".

The Bishop writes and speaks from the heart and from a wise standpoint. But don't get it twisted: He writes as a means of communicating with and empowering those who come into contact with his ideas, not as a way to show off. In other words, he writes so that anyone may understand and appreciate. He's a hip-hop scholar, but it doesn't mean that people need a degree's worth of knowledge to grasp his perspective. I'm looking forward to Vol. 2, which I know is about to come out.

This books touches on the spiritual aspects of Rap and Hip Hop. The perspective of the book examines a viewpoint that many writers have overlooked in past publications. A world view of the Hip Hop spirit, it acknowledges the music and culture in relationship to religion, specifically Islam and yoga as the book look to an inner space. Hip Hop and Politics in the Mix looks to the heart and soul of Hip Hop life.

Adisa Banjoko's "Lyrical Swords" is a "must read." If you are looking for legitimate, first-hand knowledge of the Hip-Hop culture, you will find it in this book. Banjoko has a profound knowledge of the community and its potential to change the political mix in America. His book suggests that the many contemplative, spiritual members of the Hip-Hop community are a political force to be reckoned with in the future. This little gem of a book is written in a refreshing, free-style manner, similar to that of the Hip-Hop culture. While it is written in B-boy style (free-style), it is clearly a uniquely intellectual pursuit. Everyone can enjoy this little gem. It is a bridge between those who understand the Hip-Hop culture and those who wish to understand it.

Maria Carr

This book left me with a feeling to do some good for the world and the people around me, but it isn't a tree hugger testament or anything like that (no offense to tree huggers). It also opened me up to some completely different apsects of hip-hop culture that before I hadn't given much thought to. Adisa continues to lay it down, take advantage of the knowledge that the Bishop has to offer. READ THIS BOOK AND YOU WON"T BE LET DOWN.

Banjoko's book is a smart and critical examination of contemporary Hip Hop culture. His analysis does justice to the culture, discussing all of the aspects of Hip Hop and various Rap genres. His colloquial use of language is fun and easy to read and very engaging. It's also very powerful and moving, especially when he speaks directly to the reader.

What struck me most was his demonstration of the wide distinction between the Rap Industry and Hip Hop culture; how the Rap Industry and Hip Hop media represent Hip Hop culture; and the inherent social implications of their representations. I love that he doesn't over-generalize or blame one party over another; he holds everyone accountable for their actions! As a result his book takes on great credibility and his messages even more repect and importance.

This book is a must read for everyone!!! Reading it would be an ENLIGHTENING experience not only for the lover of Hip Hop and the curious layman, but for all U.S. citizens who are bombarded by the dissemination of Hip Hop images in the media everyday.

The product came to my attention during the Christmas Season.
I could not be happier with my decision to purchase it.
I have read it twice and I cannot count how many times my wife has read it.

If you are familiar with this song and realize that it was written by Mark Lowry then having this book also written by him and him performing the song is just great. He puts as much thought in this book as is in the song. They go hand in hand.

The words to this song is the story of the real Christmas. Such a talented man is Mark Lowry. I understand that it is the only song he ever wrote...with one like this one, who needs another one!

I bought this for myself and then went back and ordered more for Christmas gifts. Everyone who received it has commented on the story and the music. It is also a special treat for me to listen to every Christmas season. I just love it.

This CD and book is THE most beautiful and meaningful gift I've ever received. My husband heard the song on the radio and went searching for it at music store where he found the Mark Lowry book/CD. I couldn't stop crying the first time I heard it. To read the birth of Christ through the eyes of His mother, the most Holy Theotokos, brings a new perspective to this great and holy holiday. I encourage everyone reading this review to purchase one for yourself and one for someone you love.

This is a great book. It walks you step by step through learning to play lead. I am doing thing I never thought I would be able to do on a guitar.

I bought this for my 14yo, along with Speed Mechanics for Lead Guitar. They must be good because he leaves them all over the house after he's used them. They keep moving around, so he must be using them.

Great book to become an intermediate lead guitar player. It starts from the very beginning and covers scales (Minor pentatonic, blues, minor natural and dorian), speed exercises, intermediate techniques (natural harmonics, vibrato bar, tapping), timing up to sixteenth note triplets, basic theory and introduction to improvisation. It has good explanations, 171 exercises and 6 songs with full backing band to solo over that make you enjoy as you learn. Exercises and songs are demonstrated on the included CD.
It uses TAB with standard rhythm notation to make learning easier.
This book will be hard for absolute beginners because, although basic techniques (hammer-on & pull-off, bending, finger vibrato, palm muting, artificial harmonics) are explained clearly, the book includes only a few exercises for every basic technique and focuses on more advanced matters. They'd better start with a basic book as Metal Lead Guitar Primer to learn the basics.
Remember Troy Stetina is acclaimed as one of the best instructors world wide.

I have no idea about playing guitar. I bought this book as a gift for my nephew. He wanted me to order especially this (well known) book and said that it is very useful. Now he is very happy and he uses it a lot.

The Troy Stetina series is definitely the best instruction books series you can find today. It is well-explained, you get great exercises and songs to play and you gradually feel your skills increasing. Highly recommended.

Definitivamente es la mejor adquisición Floydiana que uno puede hacer de todos los lanzamientos del último año.
Thorgerson es dueño de una imaginación y talento asombrosos. En este libro que posee prácticamente todo su trabajo relacionado a Pink Floyd hay muchas pruebas de ello.
Vale la pena totalmente, junto al Libro de Nick Mason son un complemento perfecto para entender la magia que ronda a Pink Floyd en sus dos ámbitos principales: música y artes visuales.

If you like Pink Floyd, art, design or album cover, this is the best book I ever read.

Buy NOW!! =)

As a music fan, there are two things you want to add to your experience, a songlist compilation and a biography. Anything more is really too much, but in the case of groundbreaking album cover art, and knowing Pink Floyd's history of employing visual effects in their shows, a book like this is necessary, especially since albums are gone now, and the tiny graphics you get on a CD jewel case don't compare with the stuff promoters used to jam into album jackets. This book is a trip into Storm Thurgeson's head, not necessarily Floyd's. The difference is not much since Storm was a boyhood chum, and listened so well to his employer's ideas, instead of pushing his own. That's one reason the band was so successful musically as well, was Hypnosis' reliance on the members' themes. This book is not a graphic artist's design book, though I wish it were, but it would be tons bigger. It covers 30 years (and not even all the Floyd's covers (for instance, The Wall)). But you will appreciate the fact that Storm operated more under impluse as a designer than by today's modern design houses which try to render graphics in a production line style...can't be done. The author's bylines give us insight if not in technical process, then in the intellect process, and it's good fun knowing this guy was a friend to the Floyd for a LONG time, even having to uncomfortably stand in the middle of relationships for the 'Is There Anybody Out There?' live Wall issue. All in all, I'd give 5 stars for the artwork and presentation, but lose half of one for lack of technical explanation. Enjoy!

Storm Thorgerson is the artist who designed the bulk of Pink Floyd's artwork, and "Mind Over Matter" is a combination of memoir, scrapbook, and gallery. With the possible exception of Led Zeppelin, no British rock band of the 1970s paid closer attention than Pink Floyd to the potent magic a well-designed album cover could lend to music the album contained. Much like Zeppelin, it's almost impossible to think of Pink Floyd's music without imagining the incredible visuals on their album covers. In essence, Thorgerson is almost an adjunct member of the band.

Graphic artists will appreciate this collection because Thorgerson's almost Magritte-like graphic style is also perfectly and endlessly adaptable to the commercial marketing. Casual Floyd fans will get a kick out seeing so many classic Floyd images reproduced at much larger than CD size. More serious Floyd fans will savor Thorgerson's behind-the-scenes insights regarding the band. (I was surprised to learn that Thorgerson leans more towards Gilmour than Waters). Throughout,the author discusses his designs in a very straightforward, conversational, non-pretentious way. As a bonus, he also includes graphics from Floyd tour books, posters, and DVD clamcases.

Given that so little video footage exists of Floyd, this oversized hardcover collection provides the perfect collection of visuals to leaf through while you're listening to "Dark Side of the Moon" for the umpteenth time.

I absolutely knew I had to purchase "this" book the second I saw the book cover. Storm Thorgerson is utterly amazing, eyecatching & perhaps a bit eccentric (aren't most true artists?) I loved reading about his ideas/how he came up with them & how he laid them out in the end, and after reading this book, I now want to check out other material on him as well. Pink Floyd is indeed legendary as are the works of Storm Thorgerson. A Fantastic view of Unimaginable Talent. Check it out.

Celebrity autobiographies are exercises in exhibiting the overexposed. However, dignity and discretion are assumed by the reader. Consequently, the author is oblidged to spend the entire book repeating, in essence, "I don't mean to brag but..." Also, celebrity autobiographies are famous for their creativity. David Niven's is pretty par for the course. I doubt if more than 25% of the incidents included happened exactly as described, if at all. All the better for the reader. The truth is usually rather dull or unpleasant. The narrative itself is very readable in a relaxed chatty style. Who knows if he even wrote it himself. You never know. Maybe he wrote the bare bones out and gave it to a ghostwriter to pad it and make it sound like "David Niven" wrote it. Wouldn't be the first time. Who cares? It's a fun story filled with famous people being interesting.

Published in 1972, THE MOON'S A BALLOON proved one of the great bestsellers of the decade--and if you read the first page you'll know why. You are immediate hooked by star David Niven's wild, wicked sense of humor. Whether it is his Dickensian childhood, his outrageous tour of duty with the British military, or his climb to unexpected stardom, this is truly Niven exactly as you imagine he would be.

Imagine, however, seems to be an operative word. Niven was less interested in relating the facts of his life than he was in telling a good story and in putting his best face to the public--something that is not entirely unexpected in an autobiography, particularly the autobiography of a Hollywood star. Later writers have noted that Niven played fast and loose with the facts in THE MOON'S A BALLOON, and that for all his charm he could be viciously despicable when the mood took him; it is also worth pointing out that he was never quite the "A List" star that he seems to be in his memoirs.

But all this is actually a little beside the point. Whether it is factually accurate and emotionally honest or not, THE MOON'S A BALLOON is simply a delightful read right from the first page, where we meet Nessie, the Picadilly hooker who introduced Niven to the joys of the flesh. Approximately half the book concerns Niven's life before he arrived in Hollywood as a would-be actor, and it is a riotous ride; once Niven hits the film industry, however, he begins to name drop with the best of them--offering memorable glimpses of such famous names as director William Wyler and stars Laurence Olivier and Vivian Leigh. It is all fascinating stuff.

It can also be quite startling. As just one example among many, when writing of his first wife's death Niven mentions that Joan Crawford stepped in to care for his children while he attempted to cope with his grief. Yikes! And although he was a great womanizer and cut a swath through Hollywood's beauties, Niven does no name dropping there; he does, however, describe an affair with a "Great Big Star" who was very likely Merle Oberon, the leading lady of WUTHERING HEIGHTS.

True enough, THE MOON'S A BALLOON will hardly stand a cold factual analysis--but it is a tremendously fun thing to read, a joyous and fun book, and while quite a lot of it is of the "tall tale" variety it certainly presents the star as he likely most wished to be seen and be remembered. Don't pick it for bedtime reading, because you'll never put it down! Recommended.

GFT, Amazon Reviewer

David Niven was not always a star. He had to go away and learn his trade in "B" movies before being allowed to enter the big time. He learnt that trade well but, unlike some who were destined to become greats of Hollywood, he also put his entire acting career on hold whilst he served as an officer in a fighting unit throughout WW2.

This book tells the first half of his life's story and what a story it is. Like every biography ever written, the best bits do not happen at the beginning, so some readers, therefore, might find it slow going at first. Though many will not. But then we meet the rich and famous stars of Hollywood from another era and learn a little about each of these people and their various relationships as we move from one to another and sometimes back again.

Written in David Niven's own hilarious style, there is so much humour here that you "will" find yourself insisting others read this book. In fact, it is so funny - especially his descriptions of the wrong use of English words by foreign movie directors, one finishes the book in the knowledge that had David Niven not become an Oscar-winning movie star, he would easily have achieved great success as a writer.

The underlying theme, of course, is David Niven's life and, as one reviewer has already said, this book leaves you wishing you had met this man. Me too.

NM

Let me explain what I mean.

First of all, from the very beginning pages of the Book, I could sense the smooth flow of thoughts, pouring out of MAN Niven, not ACTOR Niven.

Second, I could also feel for MAN Niven and what he went through in his youth and early manhood.

David Niven is a born storyteller. He should have dared direct movies as well. He would have succeeded splendidly because one of the very first requirements for a director, both on stage, as well as on camera, is to know how to tell a story, and tell it in a coherent and organized way.

That he had chosen not to do it, means that he was aware of his limitations and probably preferred to stick with what he knew best: acting.

I bought this book just by chance at Heathrow, while traveling to New York, feeling bored to death by the many security checks and formalities to be undergone these days, in order to be able to travel from point A to point B on the globe.

I had absolutely no idea what it was all about, but the title intrigued me, also because I had heard about it some years ago, but didn't pay appropriate attention to it at that time.

So, here I went and bought it. Finally on board of my flight carrying me to the U.S., I opened it and before I knew better, I had already landed at JFK having read half of it.

I could have blasted the pilot for that, but it wasn't his fault. I am a slow reader. I have to savor all the finesses contained in a book, given that the same is worth the effort. Believe me, "The Moon Is A Balloon", is such a book.

During my entire stay in the U.S. I carried the book around and kept on reading it - I should actually say - devour it. When I finally came to its end I felt disappointed.

Not by the book and magnificent tales and accounts it contains, but having come to a point where there was nothing more to read.

This is a book that will leave you with a "hunger" to read more about MAN David Niven and what he has to say about his experiences.

It is not just what he says, but how he says it.

The descriptions of the people he met, the places he visited, the moods and colors of his world, all come to life vividly.

Perhaps because I am a stage director, interested in directing movies, I may have a distorted vision on this, but I could actually visualize what David Niven was describing.

Various wild images a la Charles Dickens, especially at the very beginning of the book, sprung out of my mind (even "The Turning of the Screw" popped up - go figure why...).

Then, while he was describing his experiences with the schooling system in England, I visualized sorts of crazy images half-ways out of "Goodbye, Mr. Chips", mixed with "Blackboard Jungle" and/or "The Prime of Miss Jean Brodie" - the male version that is.

Later the encounter with his first love affair (I won't reveal more about it, you must read by yourself), I had flashes of "Of Human Bondage" and "Great Expectations".

His Malta adventure in the Army, almost sprung out from very early forties war movies, or thirties movies with Clark Gable.

Now I realize how deformed my professional mind is, but indeed I could feel being transported there, in his "Balloon", in his world, and felt part of his tragicomic life.

David Niven takes you by the hand and leads you into his secret garden, in which you discover the ugly sides of life, but also the very splendid tiny little pleasures that make his and everyone else's life pleasurable and indeed, worth living.

It is funny to think that David Niven's "Balloon" closely resembles to the one Jules Verne's created in "Around the World in 80 Days", and while this was a total work of fiction, Niven's own takes you much farther, than just around the world.

It takes you into a lesson of lived life, told by a human being who has truly learned from his mistakes and learned from them what life is truly all about.

The lesson though, never comes from a pulpit, it comes as a highly entertaining and fascinating account of experiences, at times very funny, at times very grim, but never, never boring.

I was stunned to finally witness that even a person like Niven, that was alive for most of my lifetime, could still enthrall and grip me with his writing style.

I usually have always avoided reading modern authors, or biographies of modern personalities, except maybe Science Fiction books (Isaac Asimov, Ray Bradbury or Arthur C. Clarke), since they all seem to resemble each other.
It is a continuous ego-trip with lots of whining and gossiping involved, but no true and genuine life experience and wisdom shared, and if is at all shared, it is in the form of "...let me tell you how to change your life, into a successful business-like one...".
Lots of preaching from insignificant and dull people I wouldn't even like to meet in person, even if I had a chance to do so.

David Niven never preaches, he just tells you how it was and the ways he managed to work himself out of trouble and into a very useful and respectable life.

I absolutely love his book.

Alas, David is not among us anymore, because if he were alive today, I would absolutely want to know and meet him in person, and perhaps even work with him.

I am over fifty, but I get a sense that with a person like him, I could still learn a lot in matters of life and how to survive even the most adverse of situations in it.

Dear readers, allow me to suggest this book to all of you. You won't regret it. This is not just another boring autobiography.
This is a man's heart opened up to the world, for the best and the worst.

David Niven's soul lies in his lines and comes alive when these lines are read.

Bless you David, wherever you may be, my thoughts are with you.The Moon's a Balloon

I just want to quickly add to all these other five-star reviews that this is one of the most inspirational books I have ever read. David Niven candidly bares his vulnerabilities and lets us in on the obstacles and hurts he endured. I read this at a time that I felt I was drifting and this made me feel much better. There are amusing stories about Hollywood and the rest of the world in the old days. Blessings to David Niven. It's a breeze of a read and I envy those of you who have it yet to enjoy for the first time!

When I received this book, I was mildly interested, having been a Beatle fan in my youth. I had not really followed the career of George Harrison post-Beatles, though I was aware of his bigger hits, and enjoyed his music. I had the generally accepted view that Harrison was a bit eccentric, reclusive, and mysterious. I was, therefore, not an intense Harrison fan, and not very educated about his music.

Having now finished the book, I feel so much more informed. Simon Leng writes excellently about George's music and what was driving it, as well as it's importance in Harrison's life and faith. Simon has been meticulous in his research, and sensitive in his discussion of a private and passionate man. Though he has far more musical knowledge than I, I found the book easy to read, and fascinating in it's detail about every song written or recorded by Harrison in his solo career. So much so, in fact, that I am off to buy a George Harrison album or two! Thanks, Simon.

I was given this book when I was convalescing in hospital. To be honest I would not have chosen a book about the life and music of George Harrison. However, from the very first chapter I found myself being drawn along a path of exploration about the life's work of George, a person whom I now realise had a tremendous influence on the musical tastes of my entire generation (I'm 52) and the generations that have come after me.
Sure, before reading the book I knew who many of the influential characters were such as Ravi Shankar, John Barham, Eric Clapton and of course the Beatles. But I didn't realise how closely their lives were intertwined and how their geniuses spun off each other.
Most of all I was struck by the spiritual influences on George. How he wasn't really searching for money or fame. It was the music and it was pursuing excellence as a means to knowing one's inner self.
Simon Leng's writing is concise, witty, even satyrical in places. At the same time the author shows himself to be very learned, thoroughly researched and very organised in terms of discography, cross references and building his line of argument in a chronological timeframe.
'The Music of George Harrison : While My Guitar Gently Weeps' by Simon Leng is easy to read, it keeps your interest and it leaves you with a feeling of enrichment.

Having already read a number of books about the Beatles I was hoping for a good insight into George Harrison and his music and this does not disappoint! The author provies an excellent balance between being informative about Harrison's music without falling into the "trainspotter element" of writing about an artist. The book is well researched and highly entertaining with a pleasant dry sense of humour. Especially interesting are the details of Harrison's early work and influences and the Clapton connection. If you are looking for a god insight into Harrison's work or dimply a damm good read, then look no further!
Highly recommended!

Not only does this book tell about George's solo work in non-technical, easy to read language, it also gives some great biographical information. In writing about his strenths as well as his shortcomings as a songwriter, singer, and musician, Leng neither idolizes nor condemns, but portrays George as a human being who made mistakes like everyone. His respect for George and his work clearly comes through. I highly recommend this book!

When I received this book, I was mildly interested, having been a Beatle fan in my youth. I had not really followed the career of George Harrison post-Beatles, though I was aware of his bigger hits, and enjoyed his music. I had the generally accepted view that Harrison was a bit eccentric, reclusive, and mysterious. I was, therefore, not an intense Harrison fan, and not very educated about his music.

Having now finished the book, I feel so much more informed. Simon Leng writes excellently about George's music and what was driving it, as well as it's importance in Harrison's life and faith. Simon has been meticulous in his research, and sensitive in his discussion of a private and passionate man. Though he has far more musical knowledge than I, I found the book easy to read, and fascinating in it's detail about every song written or recorded by Harrison in his solo career. So much so, in fact, that I am off to buy a George Harrison album or two! Thanks, Simon.

Weather you in the business or getting into it, this book is essential. Even if you have a lawyer. Good insight...

This book is so crammed with info and knowledge coupled with insight into practices of the industry and courts its like attending a credited law school.With basic torts and concideration of all parts and many elemental workings of the industry.It is a must have.

This is comprehensive & each chapter was written by another expert, so you're bound to like something!

This can be a substitute to the book: "Everything You Need To Know About The Music Business" (Donald Passman)

This book was a required text in my Legal Problems of the Recording Industry class. I'm passionate about the music industry and can give a good debate, but am far from being a "legal mind." This text is great for those, like me, are not the best students in legal courses. This text breaks down real contracts/ agreements into easy to understand formats, section by section. If it wasn't for this text I wouldn't have made an A in the course. This book should be required reading for those in the music business as well as the musicians who will be facing these agreements. Plus, it's like my professor said 'remember, everything is negotiable - don't get screwed in your contract!'

People think music business is all about creation and keeping the fans happy. Well it mostly is but a young artist can become stuck in all that legal stuff. For somebody who is new that can be very difficult and people could take advantage of this and try to cheat you so this book is about all the legal involved aspects of the music business. This book will offer you a detailed explanation of everything that concerns the people in the music business. After you read it you will know what to avoid and understand the issues as they are explained in an easy and franc manner.

At first blush this book appears to be a footnote to a writer who had an eccentric hobby. Since Professor Boyd's definitive biography some may consider that there was little else to explore. The scientific achievements of Vladimir Nabakov were not lost but perhaps overwhelmed in the literary story.
Nabakov's Blues does more than just dust off the lepidoptry papers. The book is in the final assessment a celebration of how science and research are never a sterile academic exercise but a reflection of greater issues of the beauty and elegance of intellect at work.
During the course of shedding light on the under recognized research we are reminded that the mundane work of classifying and sorting often underpins more glamorous tasks, but are also given insight into the many quiet achievers in science, who often take considerable personal risks to complete research which is part of a greater whole and leaves them only as a name in a arid catalogue.
We are too prone to identify the heros and not those who without clamor or boasting actually do the work.
Nabakov himself never "promoted" his science although he made it clear that his butterflies were an integral part of his life. We grow to specialise and those who can travel in literary circles as well as science are rare. The authors Johnson and Coates do themselves demonstrate that they too can travel the literary salons and the research laboratories, and write an elegant supplement to Professor Boyd that transcends that status to become a commentary on the man who was in many ways a true renaissance figure.

NABOKOV'S BLUES

Nabokov's Blues: The Scientific Odyssey of a Literary Genius. Kurt Johnson, Steve Coates. Cambridge, MA: Zoland Books, 1999. Pp 372 $27.00

In his Field Guide to the Butterflies of North America Alexander Klots wrote of the genus Lycaeides that "the recent work of Nabokov has entirely rearranged the classification of this genus." The response of Vladimir Nabokov, the acclaimed author of Lolita, Pale Fire and Ada or Ardor: A Family Chronicle, was "That's real fame. That means more than anything a literary critic might say."

Nabokov was born in April 1899 and his reputation as a leading literary figure of the century he was almost born in seems secure; the Random House Modern Library proclaimed Lolita the fourth greatest novel of the century and the memoir Speak, Memory, the eighth greatest work of non-fiction, thus Nabokov was the only author to feature in the top ten of both lists. It is well known that Nabokov had a strong interest in lepidoptery. Often however it is dismissed as mere dilettantism, or seen by academics and critics as a source of Freudian symbolism. Nabokov himself detested such phenomena as the crass observation that "insect" and "incest" are anagrams, and attacked "the vulgar, shabby, fundamentally medieval world of Freud, with its crankish quest for sexual symbols." Full-time lepidopterists were either ignorant of Nabokov's work or regarded it as amateur dabblings; perhaps they also felt resentment at this part-timer who was nevertheless dubbed "the most famous lepidopterist in the world."

Kurt Johnson is a lepidopterist associated with the Florida State Collection of Arthropods, while Steve Coates is an editor at The New York Times. This, their first book, fights on many fronts; it tries to restore Nabokov's scientific reputation and give some account of lepidoptery's place in his life and literary work; pleads for the oft-ignored discipline of taxonomy, more important now than ever in the light of the crisis in biodiversity; and is an exciting scientific adventure story ranging from the "incorrigible continent" of South America to the squabbles of the world of academia.

Nabokov's scientific work belongs in every sense in a different era; he represents one of the last of the gentleman naturalists. Lepidoptery was an interest inherited from his father, a prominent Russian liberal assassinated in Berlin in 1922. It remained constant throughout the upheaval of the Russian Revolution and exile in Cambridge, Germany and France. On coming to the United States in May 1940 he soon visited the American Museum of Natural History in New York City with certain puzzling specimens from Europe. In Autumn 1941 he visited Harvard's Museum of Comparative Zoology and found the collections in disarray, and first as a volunteer and then as a part-time research fellow in entomology he endeavoured to straighten it out. This was typical of the war years; considerable lacunae existed in academia and were filled with available workers with little regard for their professional training.

Nabokov's paper Notes on Neotropical Plebejinae is the key in the reassessment of his position in science. It was a pioneering classification of the Latin American Polyommatini, a diverse group of Blue butterflies with members from the tip of Chile to the Caribbean. This paper established a broad framework of genera for later researchers to insert new species. In 1948 he left the Museum of Comparative Zoology to become Professor of Russian and European Literature at Cornell University. This marked the end of Nabokov's formal association with the world of lepidoptery, and with the publication of Lolita Nabokov's fame became a two-edged sword as far as his scientific reputation was concerned.

In the 1980s a series of expeditions to Las Abejas, a jungle enclave near Dominican Republic's Haitian border, began to turn up new specimens of what were known as Blues. Over the next decade and a half, Johnson and other lepidopterists travelled all over South America, becoming increasingly aware of the crucial relevance of Nabokov's classification system to the multiplicity of new species they discovered. In these chapters the authors make us aware of the biodiversity crisis which means species are becoming extinct faster than science can ascertain their existence. The humble place of the taxonomist, seen by some as a drone of biology, is scarcely deserved, considering the importance of this work. The authors are also at pains not to judge Nabokov by the standards of today; some of his beliefs on mimicry and evolution appear scientifically unorthodox, but reflect that when he was working these issues were still being resolved.

This book will provide both enjoyment and enlightenment to any reader interested not only in Nabokov but in the relationship of the arts and sciences, the current state of natural science and the biodiversity crisis. The crucial question for Johnson and Coates is "Was Nabokov a true scholar of Lepidoptera, or merely a dilettante whose contributions were remarkable?" The casual observer might wonder how "mere" a dilettante would make "remarkable" contributions, but the question is deeper; seeing Nabokov as a scientist gives the understanding of his life and works a whole new dimension.

The authors seem to suggest that a healthy relation between CP Snow's "two cultures" requires not a facile "unity" but a deep appreciation of both the humanities and the sciences. Nabokov's quote "Does there not exist a high ridge where the mountainside of 'scientific' knowledge joins the opposite slope of 'artistic' imagination" is often quoted in this context. Far from an airy abstraction, this refers to a specific example; Nabokov's 1952 review of a book centred around the drawings of John James Audubon; Nabokov found Audobon's butterfly drawings inept, and wondered "can anyone draw something he knows nothing about?" Nabokov considered a knowledge of natural science indispensable for a truly cultured sensibility; he was shocked when his literature students at Cornell University were ignorant of the names of local trees and birds.

We see Chekhov and William Carlos Williams as doctors and as writers; we see Primo Levi as a chemist and as a writer. Johnson and Coates convincingly try to persuade us that Nabokov should be seen as a writer and as a lepidopterist. Nabokov himself said "whenever I allude to butterflies in my novels ... it remains pale and false and does not really express what I want it to express, what, indeed, it can only express in the special scientific language of my entomological papers."

I picked up the paperback of this book because I'd heard about it when it was in hardback. For anyone who is fascinated by science, literature, history, sociology and much more, they will find the blend of story, information and insight in this book satisfying and enlightening. Its never gets dull because you're reading about a historical literary figure, and his biography, tons of information about science and exploration, the scientists who completed the formative work Nabokov began at Harvard before becoming famous after Lolita, and how this all fits together in todays biodiversity crisis and squabbles over whether Nabokov was really a bona fide scientist or just an boyish aficionado. I felt I had learned a great deal from this book but also enjoyed it. It is a great blend of historical fact, new stories, and insight the into world's environmental dilemmas. I also had no idea of the complex ways in which Nabokov interwove butterflies and their images and symbols into his novels.

This book is a fun read for anyone with an interest in the personal histories that shape authors, in biology and/or in the environment and ecology. It provides great insight into the scientific passion that moved one of the more interesting figures in literature, and nicely weaves the tale of Nabokov's first passion, lepidoptery, providing many interesting biographical details (including his wonderful sense of humor!), and the modern day story of the scientists who continued his work and discovered that his scientific legacy was truly as important and inventive as his literature. It discusses the science in a way that is interesting and easily understood by the non-scientist, but does not diminish the nature of the scientific information conveyed. In addition, it shows how the science impacted the literature. How interesting that a butterfly-gathering trip would provide the backdrop for Lolita! I found this book to be very interesting, informative and entertaining, and I highly recommend it.

Nabokov's Blues by Kurt Johnson and Stephen Coates is a testament to the dogged pursuit of their art by basic scientists such as Drs. Vladimir Nabokov and Kurt Johnson who continue their efforts with minimal funding and little glamour, and the roles played by happenstance and eccentricity in substantial discoveries. The adventure stories spun by Stephen Jay Gould in Wonderful Life and Jonathan Weiner in The Beak of the Finch in high profile, well-financed disciplines, and by Mark Jaffe in And No Birds Sing and now by Johnson and Coates in Nabokov's Blues in lesser known arenas, demonstrate how events and personalities conspire. Johnson and Coates capture this process and invite the reader into this adventure as the scientists and their colleagues pursue the magic of butterflies. Nabokov's Blues is an engaging retelling of the exciting set of adventures, in the field and in museums, begun by one of the great storytellers of the 20th Century, Vladimir Nabokov. With the disclaimer of a member of a class described by the reviewer as "eccentrics and polymaths" who played a minor role in Kurt Johnson's great adventure, I cannot disagree more strongly with Richard Conniff's assertion in his February 20,2000 review in The New York Times Book Review that "the authors fail to capture the full wonder and oddity of the enterprise." This is exactly what the authors accomplish.

I love this book!!! It talks about success at music as well as success in life. Very uplifting and motivational.

This book revolutionized my life. I visited a Suzuki flute instructor and fell in love with this method. I saw how excited the children were about learning and how much joy they had. When I read the book I understood why. Dr. Suzuki has a mastery over how children respond to love and encouragement. Reading the stories in here about patience, love and encouragement changed the way I taught flute and also the way I approach life in general. I now try to emulate Dr. Suzuki's teachings in all my interactions. I would recommend this book to every music instructor, whether Suzuki or traditional, every teacher, every parent, and any person who works with or has contact with children. I bought this copy to give to a former student, to help him remember his roots as he begins his music career. I hope he will choose to emulate Dr. Suzuki's love and wisdom in his teaching.

Suzuki's philosphy is a good one, and I happen to agree with his theory of Talent Education--which posits that children are the products of their environment and that, given suitable environs and nurturing parents, the ability to do just about anything is present in all of us from birth. Suzuki likens the process of learning to perform music to a child's easy,if prolonged, acquisition of his native language. Focus is made on practice--rote and repetitive--as the key to proper traning. Short and easy to read, but there's a lot of flower-fluff and almost scientific method involved. A lot of Suzuki writing "I think" and "I feel" and "I knew" without much research or external input to back some of his arguments. The chapters here (which is essentially the same tome as "Ability from Age 0") are disjointed, and often read like a loose string of Dr. Suzuki's anecdotes as both a student and teacher of violin. Some of this may owe to the translation from Japanese. Much of it is downright naive, very preachy, and self-congratulating. In Suzuki's perfect world, ALL children are special and wonderful, and anger is "unnecessary," war is nonexistent, and love is all you need. Idealistic, if not practical, words for most of we parents who aren't exactly as Christ-like as Suzuki portrays himself to be. What the doctor seems to forget, however, is that were his advice followed to the letter and all children given the opportunity to capitalize on their ability, everyone would excel, everyone would be noble--which would be great--but then no one would be special any longer, because we'd ALL be talented little geniuses in EVERY aspect of our lives. Sadly, ours is not a perfect world. A majority of the world population live in less-than-nurturing circumstances, which ensures that some children will always grow to be miserable, angry, or in perpetual need--which in turn breeds want and war.

In short, a great inspirational book for parents and teachers, in music and in life. But if anyone can really espouse all the virtues Suzuki is selling here, they should change their name to Jesus and ascend into heaven forthwithly.

This book should be required reading for music teachers, and for parents who would like their young children to have music lessons. I teach piano and violin to young students, and I felt it was immensely helpful to me. It was a constant reminder that patience, persistance, and a deep love of music will yeild the most profound results with even my most difficult students. It is all to tempting to dismiss the abilities of a particular child, especially one who tends to be uncooperative, instead of recognizing that each child has enormous potential. The touching stories Mr. Suzuki shares of students who overcame terrible difficulties, from blindness to infantile paralysis, to play the violin as best they could, moved me more than words can say.

The book wonders between autobiography, philosophy, history of how Suzuki's philosophy developed, and technique but the message is clear. Most children's success is dependent on the culture parents create EVERYDAY at their home and for their children. The parents are the creators of culture and the culture is what is done, talked about, emphisized, supported, given time to, and encourage everyday with love. It is easier if society at large supports the culture that parents want but parents ultamately have to create their own culture for their children and the key is what is done everyday and it requires a serious investment of time.

We are what we do everyday (Suzuki is in line with Aristotle on this one). Patience, perserverance, determination shrouded in love 15 minutes a day, for a child, is better than an hour one day a week. Parents talking about it, encouraging it everyday, making it the family culture, are keys to success in music as most anything for most children. There are a lot of distractions that wish to throw our children into worshiping the vanities in this world, the best way to fight this is to create an inner dignity and harmony that comes from a serious but loving endevour everyday.