As a News Director at a top TV market, it is crucial I provide sound advise to my young reporters about their responsibilities and liabilities when pursuing a story. The First Ammendment and the Fith Estate should be requiered reading for all young journalists (and even some older journalists could refresh their knowledge with this book). I look forward to the next edition as we face a whole new world with Cybernews and DTV.

This is a great teaching book. Children learn about colors, counting and dinosaurs. It also has a great pronounciation guide on the back cover. Fun humor as the dinosaurs come to colorful and verbally creative life with the turn of each page.

This is the early Carter, we hear about his early days with Mlle.Boulanger,her perceptive clarvoyance for her illuminations of a work,her deep concern for her students,including the selctions of gifts for travel back to the United States,well New York. Stravinsky was the genius of the age, the Twenties, Carter had heard at a soiree, Persephone, with Mr. Stravinsky at the piano. He always brought an impeccable sense of rhythm, of precision, of attack.Carter distinguishes the piano composer Ravel, Igor.

There are great issues discussed here as the future of the orchestra, how difficult it has become to give everyone in the modern orchestra something to play. These interviews traverse only to 1971, Carter was on the threshold of his monumental Third String Quartet. But we obtain quite well thought out reflections of the darkly brooding "Piano Concerto",a work completed during a stay in Berlin with students, Rzewski among them, and the "Concerto for Orchestra". The latter he had fragmented the modern orchestra into 'concertini', small ensembles of fascinating timbres.

Carter here is quite social in his reflections of tradition and the elitist endeavor of writing music. He reflects that we really cannot speak of a national consciousness for serious composers as Carter has so obviously become in the past ten years. That perhaps writing music for the primary venues will be something for the past. And if we warp=speed to the present from 1971 we see the corporate agenda for orchestral commissions as Eisner's vacuous vision of "Mickey Mouse" giving music money to Alan Jay Kernis and Michael Torke for modern creations, creations quite obvious and predictable.Yet without points of interest.

Carter reflects quite profoundly on his working methods, the five and seven tone chordal structures, in the "Piano Concerto", and The powerfully wrought "Concerto for Orchestra", the latter written during the Vietnam Times, of street anti-establishment rebellion.

We learn the impetus of Carter's musical aesthetic as linear, the only aesthetic worth pursuing, and he makes a profoundly convincing arguments against contra the texture bound creations a la Stockhausen, where texture became boring after the first initial moments. Or he reflects deeply on the vacuity of serial thinking that never lets the EAR be the primary focus for music, rather the highly abstracted geometric sense of music not for the EAR but the self-indulgent mind.

Shame this is out-of print, I have an old tattered copy that I cherish deeply.

_Freedom Summer_ is a richly detailed account of a young white woman who participated in the Student Nonviolent Coordinating Committee's summer project in Mississippi in 1964. The text covers one incredibly intense summer from the basic training session in June to the Democratic Convention in August. I will assign this text in my Civil Rights Autobiography course next semester because, aside from being a clearly-written account of a chaotic time, it will answer some of the questions I know my students will have, such as: what was it like to be a Civil Rights worker? what was it like to be arrested and thrown in a Mississippi jail? what were the day to day activities of people working in the Movement? how were the workers received by the black and white communities? or how do you decide go enter Mississippi after you've just learned that three summer project workers have disappeared and are presumed dead?

From Poppa is an enjoyable full color children's picture book for young readers who can effortlessly handle easy reader books and are ready for a slightly more detailed story. The heartwarming color illustrations by Kasia Charko wonderfully enhance Anne Carter's story of a young girl and her beloved grandfather who teaches her how to create a lifelike wooden duck over the course of a winter. A wistful and gentle tale of family, From Poppa is highly recommended for family, school, and community library picture book collections.

Enhance mental imagery on any printed project by experimenting with
fonts! In "Fun with Fonts," David E. Carter shows you how to
"speak" to others simply by choosing the appropriate type
font for your project. More than 170 complete type font alphabets are
featured in his book, along with an amusing application of each. The
designs and color combinations are whimsical and the anecdotes are
delightful!

As a journeyman typesetter for nearly 30 years, I'm a
self-confessed font lover - Carter's book satisfies my font
"sweet tooth!" He even goes as far as addressing this
"addiction" by offering the names, addresses, and phone
numbers of the firms selling these designs!...

this is truly a great gift for anybody over the age of 50. makes you feel young and capable of really enjoying the rest of your life. I loved all the funny quotes and the real life stories

This is a remarkable book. It approaches the social psychology of the decision making process in comparative case study form. Since the dynamics, personal and structural, in the Nixon and Carter administrations were so different, it is a useful education in the methodology of waging internecine feuds.

The volumes in Betterway's "Genealogist's Guide" series have been genrally excellent in leading researchers through the special problems, situations, and resources connected with non-Anglo-European-male ancestors. Anyone, even an otherwise experienced family historian, who has attempted to develop a black lineage more than three or four generations back in the United States knows the historical and social problems involved often are considerable - but they aren't insurmountable, as the authors show. Smith, a Houston librarian with legal training, learned early of the reluctance of his elderly relatives to discuss the "slave days" and of the tendency of black genealogists to end their quest with the 1870 census. He begins with the basics, the stuff we all learned (or should have) in the first year of research, but slants it toward the necessities of African-American history, including the need to deal with frequent name-changes, "consulting the elders," and evaluating family stories (both of which are especially important here). Likewise, in reading the federal census schedules, one must understand what was meant, both officially and locally, by "colored" and "mulatto," the definitions of which changed over time. Military service records, an important resource in most white pedigrees, are more problematic for black lineages before World War II. Church records are proportionately more important. Smith gives considerable space to the use of white (i.e., slaveholding) family records in tracing black families, and to the proper use of the federal census slave schedules -- subjects few of us have much experience with. Finally, he relates all this through three extended cases drawn from his own family research which exemplify the techniques and adjusted mind-sets he explained earlier. They're well written, carefully worked out, and inspirational as well as informative, and are worth the price of admission by themselves.

This book is a great library addition for those interested in the use of GIS in geosciences. Most of the examples are given from the SPANS program but translate easily into other software. Reading the book will give you a good understanding of aspects of spatial analysis in the Geosciences. There is a lot of detail and good examples.