The late Mr. Hadcock's "The Working Clarinetist" is a must have for anyone seriously interested in pursuing a career in clarinet performance. He covers all of the bases, from orchestral repertoire, solo literature, basic techniques of breathing, hand position, and sound, and then tops it all off with practical knowledge of equipment. Particularly useful are the LEGIBLE versions of unattainable orchestral excerpts such as Bartok's "Miraculous Mandarin". The excerpt commentary is written as though Mr. Hadcock were sitting next to you giving you a personal lesson. All is easily understood and extremely helpful. My thanks to his dear wife for sharing this gem of clarinet literature with the rest of us. BUY IT NOW!

Forget that this is the best collection of orchestral excerpts for the clarinet ever compiled. This book is the single most thorough and pragmatic book ever written on playing the clarinet. The excerpts contain not only audition repertoire, but also difficult tutti passages in order to help both people who are performing these works with an orchestra as well as people who are preparing for auditions. In the extensive and insightful notes on each excerpt, Hadcock offers tips in both contexts - audition and on the concert stage with an orchestra. The rest of the book examines every aspect of playing the clarinet including the mental, psychological, and at times, the philosophical. To top it all off, Hadcock infuses wit, humor, and most of all, compassion into this cornucopia of information.

This is a wonderful book, full of sound, practical and necessary information for clarinetists of all levels--I can't think of another book on the clarinet that offers so much. There is an extensive l54 page-section dealing with tips on how to play most of the most important orchestral excerpts. There are sections on the basics--hand position, embouchure, articulation, and intonation. There are sections on auditioning, on making and adjusting reeds, even on basic clarinet repair. And there are master classes on the Mozart and Nielsen concertos. This book is a treasure trove of information which will be useful to all clarinetists everywhere. And equally wonderful is the way it is written--for those not fortunate enough to have known Pete it is as though he is speaking directly to you. The prose throughout the book captures his warmth and spirit as a teacher and player.

When I was a child, I loved the book Yummers! I made my parents read it to me all the time! It was favorite of all my books. I'm very happy I have the opportunity to purchase this book(thanks to Amazon) and share it with my son.

I'm still mourning James Marshall's death. Reading "Yummers" gives you an inkling of what bibliophiles miss. His gentle humor, comical yet endearing illustrations. And yet, always wisdom behind the joke. But he never beats you over the head with it. I've read all of James Marshall's books (over and over) and I never get tired of them. At least we've got something to remember him by.

This book was my favorite as a child, maybe it was the way my mother read it that endeared it to me. Whatever reason, the pictures and story are cute and comical. It shows how a friends best attempt to help, sometimes doesn't end the way they planned. And maybe just BEING a friend is all the help a friend ever really needs.

Whether you're in the corner office of a Fortune 500 company or chairing the local Girl Scout Council, this book will help you run more productive meetings. (I'm using it for the local Library Board!) Nancy Stevenson makes difficult concepts easy to understand and provides lots of quick tips. This is a real "must have" book!

Whether you are a businessperson, an educator, or a parent, this book gives great ideas and strategies for motivating others. Chapters are broken into small chunks. I'm using this with teachers as a discussion book. I shared it with my friend who owns his own business, and he is using it with his managers.

Happy millionaires, floating above money. Tastemakers and models where the substance of sign are widgets produced from the mysteries of Eurocentric sytle. Even anti-stye is currency spoken at the proper moment. Castles in the sky held up by anti-gravity - the collective will of the subordinate and subordinated who dare not look the other way. Whether it is the act of looking away or looking as in appearing the Other way, those in thrall refuse to ignore the central process, their ennobling whitewash without which they become the non-audience, those left outside the theater of the West.

Marshall Blonsky, in American Mythologies, examines the symbolic discourse between the performers and the performed upon as if to examine the state of the ceiling in the house whose walls have already collapsed. Yet it remains a valid work because while we all stand in the cold ruins, the ceiling remains frozen in mid-air suspended like our disbelief, while from its reflections we measure our steps. As intellectual excavator and personal ruminator par excellence, Blonsky will become the McLuhan of the 21st Century.

Con este libro, el cual no entendi hasta mucho mas tarde como con algunas grandes obras, tuve mi primer gran encuentro con la semiotica, el estudio de los simbolos, y fue tambien la primera vez que lei a umberto eco. me gusto mucho su descripcion de una silla y de sus diferentes significados dependiendo de muchos factores. este libro trata de analizar la cultura norteamericana, la simbologia, el pop art, usando la semiotica y lo hace de una manera magistral aunque a veces no es muy clara.

excelente lectura. LUIS MENDEZ luismendez@codetel.net.do

An absolutely awesome piece of work. For anyone with even a passing interest in the 355th Fighter Group, this book is a must! Among the exciting information is a complete recollection of a mission flown by the Group from the Frag Order through to Debriefing and the Post-Mission Reports and everything in between!

An excellent research piece with lots of facts and pictures. The book is basically a flight log of all missions flown by the 355FG during WWII. Every mission is logged by flight number and a brief description of each flight by fighter squadron. The book also lists KIA, MIA or POW status of pilots that went down. If you know anyone that was in the 355th Fighter Group or are doing research on the group, this book is a must have!

There are lots of good books about Art Deco as an overall art style but Patricia Kery seems to have corned the market with this title covering graphics. Large size, 320 pages and with 476 illustrations it will most likely be the standard reference for many years. The first chapter, 'Foundations of Art Deco graphic style' is a lucid explanation and the following chapters (printed on light mauve paper) expand on this excellent start. The illustrations are fortunately printed on glossy white paper.

Good as the book is though I was rather disappointed with the presentation. All of the spreads with several pictures have them deliberately unaligned and where there are only two images to a page they are usually the same size with a lot of white space and I mean a LOT. I think one of the images should have been big and the other smaller, thus reducing all the white space to a minimum. Typography on the mauve text pages is a mess, various sizes are used and the caption size is really too small. The left-hand page numbers are on the inside of the page next to the books spine, this seems a silly bit of designer whimsy.

The book is very comprehensive and rightly shows how the creative output of mostly European artists was used commercially. For an American perspective have a look at this beautifully designed paperback, 'Streamline: American Art Deco Graphic Design' by Steven Heller and Louise Fili. This has excellent illustrations showing how the style was adapted (those famous three speed lines) by American creative folk to sell products rather than a European fine art genre.

Art Deco Graphics is about graciousness of form. An unmatchable book that can be read five, ten times and still sift up new baubles. Brief-lived, yet timeless, like the then-young artists' cheerful way of navigating into the future using no compass or ancestral guidance. Like office girls who adored the little black dress, but were informed they could liquefy, rather than dump, themselves, into it, and so did.

The drifting directionlessness of France in the 1920s when film and poetry were all but the same thing, a nostalgia for what always is because it never was. It was time for something new.

New . . . and yet . . . more: Modern. Diverting. Striking, startling, disharmonious, direct. Everyone saw the need: Art of street to challenge art of salon. A merger between middle-class decorative taste and the revolutionary's love of the outré, the young artist's love of the avant-garde, the liberated career woman's preoccupation with the suave and the elegantly insolent. By the time the 1925 Exposition des Arts Décoratifs et Industriels Modernes opened in Paris, the masters of modern art-Picasso, Braque, to skim for the moment the mythic cream, Klimt, Léger, Kandinsky, Magritte, Modigliani, Duchamp, Ernst, and Toulouse-Lautrec-had already transformed the fine arts. There seemed no new territory to explore.

Then the newbies discovered graphic arts.

There was no "Art Deco" then. Indeed, that appellation was not used until 1966. But artisans embracing a handful of ideas loosely bundled as "Style moderne" borrowed bits from Cubism, Russian Constructivism, Italian Futurism, the Vienna Secession, Bauhaus, then added techniques of their own: abstraction, distortion, oversimplification, geometric solidities reinforced with intense colors. They used these to celebrate the rise of commerce, technology, and (thanks to the auto and airplane) speed. The ensuing volcano spewed simultaneous views from several directions: hypercontrasts of color and arrangement, transformations of reality, personality, eccentricity.

These inspired a new kind of fine artist, the illustrator. Names like Cassandre, Jean Carlu, Herbert Bayer, and McKnight-Kauffer began to turn up not merely on posters, but magazine covers, stationery design, advertisements. A kumquat of Orientalism was squeezed out of Diaghilev's sensational Ballets Russes. American jazz, native American and African art, Egyptian glyphs, these too. And above all the discovery of personal power in the power of machines. All these contributed to an aesthetic confluence from which has flown the sociological art theme of our times: graphics, commerce, private purpose, public event, and social attitude are all immersed in one. Art Deco Graphics is like looking at the wedding pictures of one's grandparents.

Almost all these images are standouts, but a few are unsettling, and breathtakingly so. On page 89 is an ad for Herkules Bier "aus dem Hasenbrau-Augsburg." The sinister, leviathanic, muscle-bound, fist-clenched figure uses one of the hallmarks of Art Deco-deep shadow to enhance contrast-to convey a message as self-contradictory as it is threatening: Drink this and it won't go to your belly, it will build the muscle of Germany. Rage is power,too.

That was 1925. Five years earlier Ludwig Hohlwein design an ad "Tachometerwerke" for a Düsseldorf maker of the eponymous instruments to clock engine revs. The vehicle, with its riveted sheet metal body and upjutting phallic levers for gears and brakes, all done in a dark drab befitting military maneuvers in the slime, is not a Gay Paree streamlined beauty with chauffeur and mink-trimmed consort. It is a tank. The vehicle alone says, "We're coming, out of the way." But it is the driver who truly frightens. Garbed in the thick leathers of automobiling at the time, gloved hands gripping-no, choking-the wheel, his face is of such grim, hating, enraged determination that one cannot think of similar malevolency in all of art history except perhaps for Meiji-era Japanese prints extolling the glories of battle. Even in 1920 the omens were shrieking, and by 1925 they were building muscle.

Yet for the most part Art Deco was sweetness and elegance, if not light, and a kind of innocence during the days when modern commercialism was being established. One can see editors exploiting inner fears on behalf of ad sales even then: the Vogue and Vanity Fair covers depict improbably slender women draped in the silks and furs of unattainable wealth, their eyes of steel willing and able to stare down an amorous tycoon (page 143). Book publishers were right alongside them: A book cover by a designer pseudonymed "Fish" (in reality the British caracaturist Ann Sefton) proclaimed, "High Society-Hints on how to Attain, Relish - and Survive It; A Pictorial Guide to Life in Our Upper Circles." Powerful "Fortune" covers (whose ultra-simplicity and unusual view angles could inspire cinema students even today). They also were the days when "Fortune" had taste: A 1941 cover was graced with a Fernand Léger graphic.

I guess someone put in the wrong book description -- attics don't usually have radon problems! I got a ton of ideas. Now I have created a great plan and can't wait to begin working on the attic of our house.

This is the best remodeling book ever! The helps are awesome and the picture inspire you so much! I highly recommended this book!

You who are viewing this page should congratulate yourself for being willing enough to explore what Anarchism is all about. I commend you once again but reward yourself by obtaining this book. Any of Bakunin's writings are well worth it, it is a travesty that Anarchism has been dismissed awaken yourself to the possiblity and don't be afraid to ask why not.

Michael Bakunin was born landed Russian nobility but he gave all that up to fight for a more just social order. This book is a fascinating read for any student of Politcal Science or Sociology. As Marx's arch rival at the International Working Man's Association Bakunin believed that revolution would come from the rabble of society not the well organized industrual workers as Marx beleived. This book takes you to exile in Siberia to the politically charged streets of Paris. One of the best books I have ever read.

I have three children and I find myself continually picking this book up at the public library. Over the years, my children never seem to get tired of this book (and Mom doesn't get tired of reading it either). They love guessing and knowing the correct answer of the animal on the next page. We love it!

As a Children's Specialist in a public library, I use this book constantly in storyhour. It has become such a favorite that I have had at least 10 moms ask me where they could buy it. The library copy stays checked out and it is most unfortunate that it is no longer available. It is simple, colorful and has great potential for "join-in" fun.

This text is vital for anyone using BEEP, considering BEEP, or designing any sort of Internet protocol.

This book is very well written, complete and easy to read. It's written by the man who invented the protocol, so you can be sure it's accurate. It starts with a conceptual overview of the BEEP protocol, including the all-important discussion of WHY the protocol does what it does, including what problems it solves for you and what problems it doesn't. It then covers three implementations of the protocol library (in Java, C, and Tcl), discussing the APIs of each, and giving the source for two different applications for each. In contrast, the BEEP RFCs give relatively little information on the motivation and intended use of the features, and the API documents assume you know where to start and why you would use each entry point.

This text will tell you whether BEEP is right for your needs. If you decide to use BEEP, it's a vital companion to the technical API documentation and RFCs. Even though I implemented much of the C BEEP library, I found this book wonderfully helpful (even vital) for understanding the APIs in the other languages. It bridges the gap between the technical RFC and API documentation and the level of understanding you need to use that technical documentation effectively.

Marshall Rose's latest book is a boon for two very different audiences: first and foremost, it is a guide to assembling Internet-aware applications based on his newest protocol called BEEP. Why bother with BEEP? Because it makes writing intelligent applications that function across the Internet easier, more secure, and more useful. Anyone who has tried to get a new application working between two computers behind two separate firewalls knows the frustrations involved, and BEEP is here to help with this and numerous other situations. This is not a typical O'Reilly book: there isn't much code, instead there is more pages devoted to the concepts and explanations of what Marshall was trying to do with BEEP and how you can make it work for you when you build your own applications. But it is a typical Marshall Rose book (Disclaimer: Marshall and I co-wrote a book on Internet email a few years back.) -- filled with wit, insight, lots of helpful information and above all well written and clear. There are chapters on implementations in Java, C, and tcl that help illustrate what you can do with BEEP. That doesn't mean that you can lift these code fragments and have a working prototype quickly -- but once you glom on to what he is doing with this stuff, you can build better applications and build them more quickly, more securely, and more reliably. Hopefully, the word will spread and the BEEP community will continue to grow and thrive.

The second audience for this book is more obscure but equally important. Anyone trying to attempt to write a new protocol these days needs to know the roadmap of what they are up against, and Marshall's book is sort of a Hitchhiker's Guide to Writing New Internet Protocols. The elegance of design, the simplicity of function, and the single-minded purpose of such a feat is a joy to behold.