Reviews Written By: A1SYLII0808HD6provided by Amazon.com |
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 | Xbox 360 Pro System with 60GB Hard Drive | |
 | "MICROSOFT Will Repair Some Broken Consoles for Free!" | 2009-10-20 |
| PROS: This is a great video game console, with a built-in 60mb hard-drive (for memory), with which you can play an excellent variety of games, play CDs and DVDs, and though which you can download streaming media (e.g., films) from companies such as Netflix. One can play with friends at home, or with a network of online players (although there is an annual membership fee for some online play). Once you get used to them, the controllers handle well (I recommend those without wires). Set-up is easy, although those of you with Hi-Def TV might want to buy Hi-Def wires (that go from the XBOX 360 to the TV) to take advantage of the better resolution. There's just one little problem, and that is a major CON:
A Major CON: The XBOX 360 has an extremely high failure rate!!! Usually, these are the older (pre-2009) models. A large number of these (more than 30%, according to soem reports) had hardware malfunctions, often resulting in total breakdown. On the front of the console (around the button that turns on the XBOX360, one would often see: 1. Three red blinking lights (see http://support.microsoft.com/kb/907534 ), or 2. One red blinking light with "E-74" showing on the TV screen (or whatever monitor you use). See http://support.microsoft.com/kb/941377 The Good News. If you are thinking of replacing your broken XBOX 360 only because you have one of these errors, you probably won't need to do so. In fact, you can probably replace it for FREE (including shipping to and from Microsoft). Previously you had no recourse after the one-year Microsoft warranty; however, Microsoft has apparently seen the light(s). Please read this April 2009 piece for a a good, brief overview, including some text from Microsoft on how to proceed: http://blogs.zdnet.com/hardware/?p=4152 Here are the rules, as I understand them (please email me if you have different or more complete information; those with qualifying broken X-boxes should have the best information available! 1. Only the flaws described above are covered, either the three flashing red lights, or the one glashing light with the E-74 message--no other "E" numbers will do, and 2. You are within three years of the date of purchase. Essentially, Microsoft has extended their one-year warranty for an ADDITIONAL two years, but only for these two types of errors. Many gamers registered their consoles when they made their user profile for online play; others may have sent back a registration card; still others may have some additional proof of purchase. Also, your XBOX has a serial number on the back; it is possible (although you will have to check with Microsoft) that this is somehow sufficient to identify the date of purchase, and 3. You did not open up the XBOX (and I mean opening it so that you can see the internal hardware, not just removing the external hard drive or the face plate on the front side of the box), nor did you hire someone to open up the XBOX. There are lots of YOUTUBE videos instructing people how to take them apart and do a self-repair... Generally NOT a good idea. If you qualify (I'll give you the site to check a few lines down), you will get free two-way shipping and free repair. This is far superior to buying another simply for replacement purposes, or paying a third party (oops, and there goes your Microsoft warranty!) $90.00 and up (with possible shipping charges and a very short repair warranty) for a repair. Here are the rules, as I understand them (please email me if you have different or more complete information). How to Get to the Microsoft Repair Site. 1. Go to http://support.xbox.com/support/en/us/nxe/LiveIDSignIn.aspx?redirectUrl=http://support.xbox.com/support/en/us/nxe/registerdevice.aspx?step=repair 2. Sign into Windows Live ID--generally your hotmail account if you use hotmail email. If you don't have a WIndows ID, you can obtainone here. 3. Complete the Registration Form. Make sure you note what kind of problem you have (for a free repair, it must be one of the two listed above). 4. If all goes well, you will be directed to a site where you can either print-out a free shipping label, or have one mailed to you. THe print-out option usually did not work for me, and I had to wait about 5 days to receive one in the mail. The site also gives you packing instructions (e.g., do not pack any wires, controllers, cushion the XBOX, remove the hard drive (this is easier than it sounds). 5. IF all does not go well, call customer support at the following: Toll free: (800) 4MY-XBOX Direct dial: (425) 635-7180 Hearing impaired (TDD device): (866) 740-9269 or (425) 635-7102 I found customer service friendly, patient, and informative. ONE MORE THING. If you already paid Microsoft to fix one of these hardware flaws, Microsoft will reimburse you (it was somewhere around $119) BUT ONLY IF YOU CONTACT THEM BY NOVEMBER 1, 2009. That's right, not even two weeks from now, and that is why this is being posted before I receive my (hopefully) repaired XBOX. "Microsoft will refund to customers the amount paid for an out of warranty repair due to a general hardware failure associated with the e74 error message. Those customers should automatically receive the refund within 4-12 weeks, and no additional action by customers should be necessary. However, if a customer has not received a refund by July 1, 2009, the customer should visit www.xbox.com/support before November 1, 2009 for information on how to place a claim. All refund claims must be received on or before November 1, 2009." As far as I know this has not been extended past November 1, 2009. YOu might want to call Microsoft XBOX 360 support as soon as you can for details on repair reimbusement. Toll free: (800) 4MY-XBOX. If you read any comments that state all this is false, be forewarned that there are many companies making money by repairing XBOXs with these errors; they could lose quite a bit of potential revenue if QUALIFYING XBOX 360 consoles are returned to Microsoft for a free repair. OF course, any corrections or additions are very welcome; I'm not a tech. person, just someone who recently went through this experience. Thank you, and best of luck! | ||
 | Mysterious Thelonious | |
 | "4 1/2 Brillinat but Challenging (And I Won't Even Try to Rhyme Thelonious)" | 2009-08-04 |
| Chris Raschka is the absolute master of high-concept. His abstract conceptions would seema perfect match for the perfect dissonance of Thenonious Monk, another artist who mastered the abstract and the unconventional...who merged sound and sight in his own iconoclastic fashion. One of Monk's first albums is "Brilliant Corners," and you can hear those cuts and angles throughout. Raschka is brilliant in his imaginative construction of this CD/book combination, but the dilemma is whether this is a book for kids or adults. It's so mathematical, richly visual, and simultaneously linear and non-linear that it's a challenging read at almost every age. Here's the concept: Arrange adjoining squares that cover the page from toip to bottom, and left to right...like a checkerboard. IN the vertical dimension (i.e., down the page from top to bottom) the boxes represent the eight descending notes (do, re, me, anyone?) of the Western scale, and scanning from left to right is how we read both books and music. Raschka made up a very Monkian (to my mind) lyric to the tune "Mysterioso," and places each word in a square that follows the music, both vertically (do, re, mi), and horizontally--following the melody of the song. As they say, it's easy once you learn it. FOrtunately, Mr. Raschka is a kind teacher, and he includes the singing of his lyric on the CD. ONe follows the song, matching the words and their high/low sound to the words spread higher and low, left to right, on the page. The first track is done very slowly, mkaing it fairly easy to follow (after a few tries); the second time matches the actual tempo of the "Mysterioso" excerpt. Raschka also includes some introductory personal observations about jazz, and then wraps it up with a full live recording of Monk in the late 50's. If you don't like Monk, you;'re not going to like this book. But, let's say you do like Monk...or perhaps you've never heard of him but you're an adventurous soul. I think you'er going to love this book, and especially the music, if you have an open mind, have liked some very original music in the past, and love modern art. That's if you;re an adult, reading to yourself. If you're reading to a kid, I have a few suggestions to maximize their comprehension, and, more importantly, their enjoyment. I hope I don't sound patronizing; I know that YOU know your child and I don't--but take five and see what you thinik. If you love this book, but think your age 3 to 11 (approximately) audience won't understand it, at least communicate your enthusiasm. Attitude over content! Perhpas if the child is a little older, or has some real proclivities towards abstract thinking, patiently, slowly, show how Raschka has matched words to music in two dimensions. If the child is younger, perhaps point out the little pictures of Monk and other squaranalia placed on the page, enjoy the colors, sing along with the record, make your own pattern of colored squares, and just...as they say...IMPROVISE. That's what Monk did. | ||
| Mysterious Thelonious | |
| "4 1/2 Brilliant but Challenging (And I Won't Even Try to Rhyme Thelonious)" | 2009-08-04 |
| Chris Raschka is the absolute master of high-concept. His abstract conceptions would seema perfect match for the perfect dissonance of Thenonious Monk, another artist who mastered the abstract and the unconventional...who merged sound and sight in his own iconoclastic fashion. One of Monk's first albums is "Brilliant Corners," and you can hear those cuts and angles throughout.
Raschka is brilliant in his imaginative construction of this CD/book combination, but the dilemma is whether this is a book for kids or adults. It's so mathematical, richly visual, and simultaneously linear and non-linear that it's a challenging read at almost every age. Here's the concept: Arrange adjoining squares that cover the page from toip to bottom, and left to right...like a checkerboard. IN the vertical dimension (i.e., down the page from top to bottom) the boxes represent the eight descending notes (do, re, me, anyone?) of the Western scale, and scanning from left to right is how we read both books and music. Raschka made up a very Monkian (to my mind) lyric to the tune "Mysterioso," and places each word in a square that follows the music, both vertically (do, re, mi), and horizontally--following the melody of the song. As they say, it's easy once you learn it. FOrtunately, Mr. Raschka is a kind teacher, and he includes the singing of his lyric on the CD. ONe follows the song, matching the words and their high/low sound to the words spread higher and low, left to right, on the page. The first track is done very slowly, mkaing it fairly easy to follow (after a few tries); the second time matches the actual tempo of the "Mysterioso" excerpt. Raschka also includes some introductory personal observations about jazz, and then wraps it up with a full live recording of Monk in the late 50's. If you don't like Monk, you;'re not going to like this book. But, let's say you do like Monk...or perhaps you've never heard of him but you're an adventurous soul. I think you'er going to love this book, and especially the music, if you have an open mind, have liked some very original music in the past, and love modern art. That's if you;re an adult, reading to yourself. If you're reading to a kid, I have a few suggestions to maximize their comprehension, and, more importantly, their enjoyment. I hope I don't sound patronizing; I know that YOU know your child and I don't--but take five and see what you thinik. If you love this book, but think your age 3 to 11 (approximately) audience won't understand it, at least communicate your enthusiasm. Attitude over content! Perhpas if the child is a little older, or has some real proclivities towards abstract thinking, patiently, slowly, show how Raschka has matched words to music in two dimensions. If the child is younger, perhaps point out the little pictures of Monk and other squaranalia placed on the page, enjoy the colors, sing along with the record, make your own pattern of colored squares, and just...as they say...IMPROVISE. That's what Monk did. | ||
 | Teddy Bears' Picnic (Aladdin Picture Books) | |
 | "Comparison with the Jerry Garcia/David Grisman/ Bruce Whatley Board Book Version" | 2009-06-30 |
| If you can't decide bwtween this and the somewhat "hippie" version adapted by Jerry Garcia andDavid Grisman (with illustrations by Bruce Whatley), I hope this review might help you.
Gosh, that roundish, friendly bear looks familiar! He's wearin these Jerry Garcia glasses, with a wizzened-white Jerry Garcia beard, and strums both an electric and an acoustic guitar! Real aficionados might even see a resemblance to string player David Grisman, a leaner bear with matching black "T" and a very fine looking banjo. Yes, it's Garcia and Grisman's foray into kiddy lit, and while they appear on only a few pages (and the board book has no accompanying CD), their presence is felt in the other bears taking the woods-road to a grand picnic. THey're free-spiried and diverse (teddies,koalas, and pandas, and black bears and brown) and wear disguises (a sailor shirt, a pig snout) and free-flowing scarves and hats and , and bright 60's vests. Tqo ainga cross to from thw word "Woodstock," and while there are no naked bears holding hands in a river... it is a frolicosme gathering: "Beneath the trees, where nobody sees/THey'll hide and seek as long as they please." However, the text is an adaptation of a 1947 text by John W. Bratton and Jimmy Kennedy, and if you read carefully, you;ll pick up on some subverively conservative strictures. Only GOOD bears can go this picnic, it seems, and though they're having a "lovely" time on their picnic, there's a mysterious (and somewhat cryptic ) reference to dangers lurking in the forest. Towards the end of this playful, and cutely illustrated board book (the wonderful Bruce Whatley), there's a somewhat sinister verse: "If yo ugo down to the woods today You better not go alone It's lovely down in the woods today But safer to stay at home" Maybe this just relects the creeping fears of a tired young bear at the endof a grand picnic, but it makes little sense to me, not is it consistent with the overall tone of the book. I dount your little one is going to notice, but I can't help but wonder if the publishers could have chosen to omit this abrupt and unexplained warning... Overall, it's a nicely illustrated boardbook, and bear lovers will especially warm to it. However, the original tune clashes a bit with the 60's ethos, and the phrases can be awkward when not sung. Although I haven't heard this "all-time favorite song" (from the back cover), a combination book/CD might be a better way to enjoy this new/old offering. | ||
 | The Teddy Bears' Picnic | |
| "Grateful Bears: Good Book, but without Music Tape" | 2009-04-22 |
| What do I look for in a kids' board book? Well, let's start with vividly colored, uncluttered pictures, a simply told yet interesting (e.g., imaginative and/or age-appropriate content, some action or emotion) story, repetition of words or sounds, durability, and just enough adult appeal that the reader will enjoy (or at least tolerate) reading it over and over. Extra points if the book's target audience spans a few years, so that the adult can adapt it to the maturing toddler.
Written by famed musicians Jerry Garcia and David Grisman (who insert themselves as the lead musicians in the story), the story is about bears getting together for a picnic and treats, for no particular reason: For every bear that ever was Will gather there for certain because Today's the day the teddy bears Have their picnic. Every teddy bear who's been good IS sure of a reat today There's lots of marvelous things to eat And wonderful games to play. You can hear in the first stanza above a tricky sort of rhythm that's probably made clear when listening to the cassette that comes with some editions of the book. As far as I can tell, however, the board book does NOT come with one. I recommend getting the book WITH the cassette: You'll glide more easily over some of the more difficult words ("unawares"), the verses that sometimes rhyme and sometimes don't, and, let's face it, a fairly uneventful story. (Bears come, have snacks and play music, get tired, and go home.) FOrtunately, all version of "THe Teddy Bears' Picnic Board Book" have softly colored illustrations (probably watercolors) by Bruce Whatley. Some pictures are uncomplicated bear drawings, others display enough detail to attract the interest of older infants and toddlers. Whatley populates the story with a captivating assortment of bears, varying by size, color, and, especially, clothing. Pages are sturdy, my old copy showed some bear-earred pages, but the binding was in excellent shape. This is a very good, if not excellent board book, that's especially well-suited for bear fans. While I have not heard the story as played by Garcia and Grisham (remember, it does not appear to accompany the board book), I imagine that a version of the book containing the cassette would make for an enjoyable board book package. | ||
 | The Teddy Bears' Picnic Board Book and Tape (Share a Story) | |
| "Grateful Bears: Good Book, but without Music Tape" | 2009-04-22 |
| What do I look for in a kids' board book? Well, let's start with vividly colored, uncluttered pictures, a simply told yet interesting (e.g., imaginative and/or age-appropriate content, some action or emotion) story, repetition of words or sounds, durability, and just enough adult appeal that the reader will enjoy (or at least tolerate) reading it over and over. Extra points if the book's target audience spans a few years, so that the adult can adapt it to the maturing toddler.
Written by famed musicians Jerry Garcia and David Grisman (who insert themselves as the lead musicians in the story), the story is about bears getting together for a picnic and treats, for no particular reason: For every bear that ever was Will gather there for certain because Today's the day the teddy bears Have their picnic. Every teddy bear who's been good IS sure of a reat today There's lots of marvelous things to eat And wonderful games to play. You can hear in the first stanza above a tricky sort of rhythm that's probably made clear when listening to the cassette that comes with some editions of the book. As far as I can tell, however, the board book does NOT come with one. I recommend getting the book WITH the cassette: You'll glide more easily over some of the more difficult words ("unawares"), the verses that sometimes rhyme and sometimes don't, and, let's face it, a fairly uneventful story. (Bears come, have snacks and play music, get tired, and go home.) FOrtunately, all version of "THe Teddy Bears' Picnic Board Book" have softly colored illustrations (probably watercolors) by Bruce Whatley. Some pictures are uncomplicated bear drawings, others display enough detail to attract the interest of older infants and toddlers. Whatley populates the story with a captivating assortment of bears, varying by size, color, and, especially, clothing. Pages are sturdy, my old copy showed some bear-earred pages, but the binding was in excellent shape. This is a very good, if not excellent board book, that's especially well-suited for bear fans. While I have not heard the story as played by Garcia and Grisham (remember, it does not appear to accompany the board book), I imagine that a version of the book containing the cassette would make for an enjoyable board book package. | ||
 | Crossing | |
| "4 1/2 Brilliant Piece of Americana" | 2009-02-17 |
| The 1953 poem by Philip Booth that serves as a series of word pictures was not originally intended for a children's book. However, broken into one and two line of 2-3 words per page(often including numbers), it works: It holds your attention, and mirrors the sights and sounds of the gigantic freight train depicted so brilliantly by Bagram Ibatoulline. Still, there's no getting past the poetry, and that means that imagery and word sounds may predominate over an easily understood text. However, what imagery! It's muscular and choppy, dirty and noisy and industrial and chalk-through with a thoroughly American vernacular. Youngstown steel down to Mobile on Rock Island track, Ibatoulline's gouache pictures are on a grand scale, echoing the power and energy of the poem, yet he skillfully introduces a human element: Kids counting the freight cars going by, peering at each other both beneath and above opposite sides of the train, gazing and gaping at the contents; even a man with barely contained patience waiting for all 99 or more pieces of rolling thunder (including introductory engine and the concluding, chased-after caboose) to pass the old railroad crossing and head for points yonder. (Even adults may tend to wax poetic after reading this to their young audience!). "fifty-nine, sixty, hoppers of coke, Anaconda copper, hotbox smoke, ...Hiawatha, Lackawanna, rolling fast and loose. The beginning of the poem may seem little confusing, "...count the cars hauling distance through town," but that may be old railroading slang, or simply Booth's description of a railroad's work. You can read this wihtout pausing to think about the meanings and historic allusions, or adults and older readers can do some computer-aided research to track (pun intended)them down: "Frisco gondola," "Eric and Wabash," "Seaboard," "Phoebe Snow," "B&O..." I discovered, for example, that Phoebe Snow was a name used in advertising years ago, young singer Phoebe Laub adopted the name much later. You prpbably know the kind of adult who buys a train set for his kids, but plays with it more than they do. THAT adult is gonna love this book. Your kids might also, if they're not old enough to want to learn the nuts and bolts of railroads and trains, and young enough to eat up the big, dramatic pictures, and the sound of your voice evoking, as Philip Booth does, the sights and sounds of an American masterpiece. | ||
 | Crossing | |
| "4 1/2 Brilliant Piece of Americana" | 2009-02-17 |
| The 1953 poem by Philip Booth that serves as a series of word pictures was not originally intended for a children's book. However, broken into one and two line of 2-3 words per page(often including numbers), it works: It holds your attention, and mirrors the sights and sounds of the gigantic freight train depicted so brilliantly by Bagram Ibatoulline. Still, there's no getting past the poetry, and that means that imagery and word sounds may predominate over an easily understood text. However, what imagery! It's muscular and choppy, dirty and noisy and industrial and chalk-through with a thoroughly American vernacular. Youngstown steel down to Mobile on Rock Island track, Ibatoulline's gouache pictures are on a grand scale, echoing the power and energy of the poem, yet he skillfully introduces a human element: Kids counting the freight cars going by, peering at each other both beneath and above opposite sides of the train, gazing and gaping at the contents; even a man with barely contained patience waiting for all 99 or more pieces of rolling thunder (including introductory engine and the concluding, chased-after caboose) to pass the old railroad crossing and head for points yonder. (Even adults may tend to wax poetic after reading this to their young audience!). "fifty-nine, sixty, hoppers of coke, Anaconda copper, hotbox smoke, ...Hiawatha, Lackawanna, rolling fast and loose. The beginning of the poem may seem little confusing, "...count the cars hauling distance through town," but that may be old railroading slang, or simply Booth's description of a railroad's work. You can read this wihtout pausing to think about the meanings and historic allusions, or adults and older readers can do some computer-aided research to track (pun intended)them down: "Frisco gondola," "Eric and Wabash," "Seaboard," "Phoebe Snow," "B&O..." I discovered, for example, that Phoebe Snow was a name used in advertising years ago, young singer Phoebe Laub adopted the name much later. You prpbably know the kind of adult who buys a train set for his kids, but plays with it more than they do. THAT adult is gonna love this book. Your kids might also, if they're not old enough to want to learn the nuts and bolts of railroads and trains, and young enough to eat up the big, dramatic pictures, and the sound of your voice evoking, as Philip Booth does, the sights and sounds of an American masterpiece. | ||
 | McDuff' s Wild Romp | |
| "4 1/2 Great Story--"New Design" Illustrations Somewhat Disappointing" | 2009-01-04 |
| Once again, Rosemary Wells and illustrator Susan Jeffers take us back to a lovingly recreated New England town of the late 1940's or early 50's. The men wear argyle, bow-ties, and suspenders (no, it's not the go-go 1990's), and the women wear lace, big white collars, and flowered print dresses. They drive big automobiles past neatly shuttered second-story windows, sit on rolled-arm sofas, and have niceties like candy dishes. The book begins with the adorable canine McDuff finding a Turkey Tidbit under the baby's swing. It's a somewhat confusing opening, as the context is not clear. On the next page, however, the plots unfolds: Fred and Lucy are taking McDuff and the baby to Aunt Frieda's house for Sunday dinner (!). When the baby drops a second Turkey Tidbit under the dinner table (a result of a chain reaction begun when Aunt Frieda's cat, Purlina, hisses at McDuff), McDuff and his inhospitable feline host begin a slow, secretive race to the Tidbit. "They slunk toward the Turkey Tidbit while the family ate their crab cakes... Just as the family was finishing the salad, McDuff and Purlina reached the Turkey Tidbit...There was a hullaballoo right under the dining room table. Fred jumped to his feet and knocked over the chair..." As the two animals wrestle for the turkey, lamps, vases, tables, and even the curtains are knocked over! Despite all the work, the dream family of the era pretty much takes it in stride: "'Whatever could have happened to make a quiet, gentle dog and cat behave like wild tigers and bears?' asked Uncle Nate". While the adults appear somewhat naive, the baby isn't. In a clever last scene, the baby "took the last of the Turkey Tidbits and threw it on the floor.." She looks down on McDuff and Purlina eying the treat, and says with a smile: "Again!" The knock against the newer McDuff books is that the illlustrations are less detailed, and perhaps not as rich-looking. I agree, especially in the pictures of the two animals. In earlier books, you felt like you could practically touch the detailed, textured fur. These newer books have a flatter, more modern feeling that's seems incompatible with the 1940's-50's touches, and is simply not as engaging. Still, there's still enough traditional authenticity in words and pictures for adult readers, and kids will love the action and humor. I'd still recommend these newer books, but the earlier books realize more completely the enormous appeal of McDuff. | ||
 | McDuff and the Baby | |
| "4 1/2 Every Dog Has His Day" | 2009-01-01 |
| The McDuff series is famous for both its lovable dogdy hero, and its uncanny re-creation of late 1940's America. From architecture to fashion to cultural mores, author Rosemary Wells' books are superb period pieces. With the irrepressible McDuff at the center, the series has something for adults as well as youngsters. Unfortunately, many of the original books have been replaced by "new design" versions: The illustrations have fewer details, and the books don't evoke place (small town America--perhaps New England) and time as well. However, this particular "new design" book comes closer to the original versions than some others (e.g., "McDuff's Wild Romp"). One sees more shading and detail in McDuff's fur, for example, and the pictoorial style and color selection do justice to the series. In "McDuff and the Baby," the comfortably ensconced dog is challenged by the arrival of Fred and Lucy's new baby girl. (When I read those names, I often wonder if Desi and Ethel can be far behind, testimony, perhaps, to the book's nostalgic tone.) Like most babies, this one requires a great deal of attention, and McDuff soon finds that his usual routines must make way for the new addition. No more walks in the animal-scented woods (the stroller cannot negotiate it), no more late evening family radio time (the baby is crying for something), not even Fred--a la Fiorella LaGuardia--reading the comics to him at breakfast. The baby just laughs and McDuff's growls, and, to add injury to insult, she pulls on his beard! McDuff is so upset that he doesn't eat. He doesn't decide not to eat, he's not manipulative, he's just vey upset. (One reviewer here believes that McDuff' serves as a bad role model for kids trying to deal with sibling rivalry.) In any event, Fred and Lucy realize (finally) that McDuff's loss of appetite might be due to all the changes. They decide to get him back into the woods, read the comics, take the entire family outside to listen to the radio (a wonderful example of compromise and adaptation), and even treat McDuff to "his favorite treat of vanilla rice pudding with sausage slice." Things smooth over very nicely, and there's a very brief but funny exchange that closes the story: "'Woof,' said McDuff. `Woof,' said the baby." This is an excellent book whether your little one is dealing with new sibs or not. While this is the "new design" version, I think illustrator Jeffers equals (or comes very close to) her earlier work, and the narrative flows easily, with style and humor. (Note: For an example of what you're missing with the 2006 new design, go to "Look Inside" above, click on "Copyright" and you'll see a beautiful overview of the town, not included in this 2006 version.) | ||
 | The Matisse Stories | |
| "Pretense and Plausibility" | 2008-07-27 |
| A.S. Byatt, the Booker Prize winning author of "Possession," attempts an impressionistic portrait of the tension between aesthetics and emotion, with allusions to Who-Doesn't-Like-Matisse, and literary nods to Woolf and other masters of the ouvre. It's all so very pretty and stylized, and filled with such small ideas posing as BIG THOUGHTS. Imagine, Art as life! Life as art! Both and neither as everyday things that we just-took-for-granted! In such an important book, little considerations like plausibility and nuance of character may be dispensed with. Consider the following summaries of Byatt's three easy pieces: Uptight scholar throws tantrum and wrecks a once Rubenesque styling salon gone Post-Modern; Lower classish maid/nanny controls her apparent controllers--an uptight editor and her uptight, once promising painter spouse, and then upstages the latter in a didn't-see-that-coming showing of her sculptures made from her employers' throwaways(!), and two uptighters: He, an impossibly drawn caricature of cruel academia; she--the only believable voice here--a Dean mollify his pathological ravings (and posible gropings) of a ambiguously portrayed but clearly troubled graduate student. Byatt doesn't let our minds wander and think and fill in the blank spaces: She pretty much covers the entire canvas with starkly drawn, shallow pictures of these tightly-wound characters. Like the small-scale achievements of her protagonists, Byatt writes very fine miniatures--bursts of adjectives as metaphor here, a keenly observed, "revealing" detail there, but the whole mess comes apart if you step back and try to make sense of it-the opposite result of Impressionist work. As others have noted, Byatt focuses more on language and feeling and all that psychology stuff, but if these are embedded within fable-like set pieces we're not about to believe the actors' suppressed and repressed emotions, let alone their facades. I'm not sure who the joke's on when Byatt basically paints a word picture of a vulva in the first story, in which she also places "cunning" followed by "linguist" in the same paragraph. Perhaps this is Dada-esque subversion or a Fauvist attempt to awaken our senses. The stories succeed only in a gigantic suspension bridge of disbelief. Rather than Impressionism, this strikes me as miniatures of superb writing set against a large trompe de l'oeil canvas, and, for the most part, the trompe is on us. | ||
 | Ten, Nine, Eight | |
| ""and a 10, and a 9, and a" --The Count is Back!" | 2008-07-09 |
| Not quite a board book, but smaller than most picture books, "Ten, Nine, Eight" fills a nice gap in the middle. Molly Bang's exquisite colors illustrate this counting (from 10-to-1) book that culminates with the protagonist fast asleep. The context is as warm and familiar as the counted objects: A little girl (it's difficult to tell how old she is, sometimes her face looks a liitle more mature than at other time) climbs up onto her daddy's lap. The dad is obviously smitten with his daughter, but in an unforced manner that seems to come from deep inside. The gentle pictures of their affectionate interactions provide the countable objects. These include 10 toes, 7 shoes (later we see the cat with the missing one), six "pale" seashells (each with its own shape), four "sleepy eyes which open and close," two "strong arms around a fuzzy bear's head (actually, you can see three arms, but you can always exclaim, "you're right, there are three arms!)," and "one big girl all ready for bed." Ms. Bang's varied palette uses both bold primary colors and some more "sophisticated" hues not always found in a book for crawlers and toddlers. Overall, the tone is pleasant and warm, and the rhymes unforced and natural. | ||
 | Ten, Nine, Eight | |
| ""and a 10, and a 9, and a" --The Count is Back!" | 2008-07-09 |
| Not quite a board book, but smaller than most picture books, "Ten, Nine, Eight" fills a nice gap in the middle. Molly Bang's exquisite colors illustrate this counting (from 10-to-1) book that culminates with the protagonist fast asleep. The context is as warm and familiar as the counted objects: A little girl (it's difficult to tell how old she is, sometimes her face looks a liitle more mature than at other time) climbs up onto her daddy's lap. The dad is obviously smitten with his daughter, but in an unforced manner that seems to come from deep inside. The gentle pictures of their affectionate interactions provide the countable objects. These include 10 toes, 7 shoes (later we see the cat with the missing one), six "pale" seashells (each with its own shape), four "sleepy eyes which open and close," two "strong arms around a fuzzy bear's head (actually, you can see three arms, but you can always exclaim, "you're right, there are three arms!)," and "one big girl all ready for bed." Ms. Bang's varied palette uses both bold primary colors and some more "sophisticated" hues not always found in a book for crawlers and toddlers. Overall, the tone is pleasant and warm, and the rhymes unforced and natural. | ||
 | Ten, Nine, Eight (Caldecott Collection) | |
| ""and a 10, and a 9, and a" --The Count is Back!" | 2008-07-09 |
| Not quite a board book, but smaller than most picture books, "Ten, Nine, Eight" fills a nice gap in the middle. Molly Bang's exquisite colors illustrate this counting (from 10-to-1) book that culminates with the protagonist fast asleep. The context is as warm and familiar as the counted objects: A little girl (it's difficult to tell how old she is, sometimes her face looks a liitle more mature than at other time) climbs up onto her daddy's lap. The dad is obviously smitten with his daughter, but in an unforced manner that seems to come from deep inside. The gentle pictures of their affectionate interactions provide the countable objects. These include 10 toes, 7 shoes (later we see the cat with the missing one), six "pale" seashells (each with its own shape), four "sleepy eyes which open and close," two "strong arms around a fuzzy bear's head (actually, you can see three arms, but you can always exclaim, "you're right, there are three arms!)," and "one big girl all ready for bed." Ms. Bang's varied palette uses both bold primary colors and some more "sophisticated" hues not always found in a book for crawlers and toddlers. Overall, the tone is pleasant and warm, and the rhymes unforced and natural. | ||
 | Ten, Nine, Eight | |
| ""and a 10, and a 9, and a" --The Count is Back!" | 2008-07-09 |
| Not quite a board book, but smaller than most picture books, "Ten, Nine, Eight" fills a nice gap in the middle. Molly Bang's exquisite colors illustrate this counting (from 10-to-1) book that culminates with the protagonist fast asleep. br /br /The context is as warm and familiar as the counted objects: A little girl (it's difficult to tell how old she is, sometimes her face looks a liitle more mature than at other time) climbs up onto her daddy's lap. The dad is obviously smitten with his daughter, but in an unforced manner that seems to come from deep inside. The gentle pictures of their affectionate interactions provide the countable objects. These include 10 toes, 7 shoes (later we see the cat with the missing one), six "pale" seashells (each with its own shape), four "sleepy eyes which open and close," two "strong arms around a fuzzy bear's head (actually, you can see three arms, but you can always exclaim, "you're right, there are three arms!)," and "one big girl all ready for bed."br /br /Ms. Bang's varied palette uses both bold primary colors and some more "sophisticated" hues not always found in a book for crawlers and toddlers. Overall, the tone is pleasant and warm, and the rhymes unforced and natural. | ||
 | That's Not My Puppy: Its Coat Is Too Hairy (Watt, Fiona. Usborne Touchy-Feely Books.) | |
| "A Touching Book" | 2008-07-07 |
| This is another winner in this board book series, written by the "touchy-feely" team of Watt, Fiona, and Usborne. It's essentially a monologue by an unseen narrator (perhaps a young toddler like the book's audience),who notes why various breeds of dogs are NOT his or her own. The illustarions are bright primary colors, against similar but contrasting backgrounds. Embedded within the triple-thick board book pages is some texture-rich material described in the book. These attributes enable the narrator to label and categorize the various dogs, and to deduce that the pictured dog is NOT "my puppy." Ultimately, after you and your young charge touch the materials, enjoy the bright volotd and varying breeds, and delight in the repetitive; "that's not my puppy," refrain, the tenacious reader/listener will celebrate the ultimate discovery of the beloved dog. A nice little vocabulary buikder and an all-around suinpke but fun boatd book that imaginative adults can enahnce with a nicely dramatic reading. | ||
 | Gossie | |
| "An Epic Board Book!" | 2008-07-06 |
| As board books go, this is a looong one, yet, "Gossie" holds one's interest even as it introduces a barnyard full of prepositions and situations. Oliver Dunrea's idyllic little watercolor and ink drawings are a beguiling mix of innocence and sheer pluck and energy. Gossie occupies the center of the page, generally waddling across safe, cozy little settings. There's lots of white space, with Gossie invariably pictured in profile. (Funny... although she's a gosling, she looks more like a duck to me.) We quickly learn that Gossie is just gaga over her red boots. She wears them everywhere, and is very nimble in them, walking both backwards and forwards! She's small and simple enough for young toddlers to identify with, and hence adore. The bright primary colors will attract the eyes of even the youngest audience. Gossie's joyful romp is interrupted when she loses her beloved red boots. She looks everywhere for them, and that search introduces all those prepositions and nouns and other good little vocabulary words. Another writer might have placed some false clues, a red little something that is NOT the red boots, but Dunrea keeps the story simple, there are no red herrings here. To her utter delight, Gossie finally finds her boots on the feet of her pal Gertie (featured more prominently in other books). One would expect such thievery among snallfry to result in cries, fists, or outrages accusations--maybe even fisticuffs or floods of tears. Instead we have an exquisite example of uncomplicated friendship: Gertie hands over the boots, and compliments Gossie on her sartorial tastes! Gossie, ever the sweetie, returns this generosity by sharing her single pair of boots with Gertie. We're left with one gentle and funny picture of each bird wearing ONE boot, walking (in profile, of course), together across the page. This is a somewhat unusual board book because of its comparative length. It's appropriate for the older toddler as well as the younger. In fact, the reader may chose to read this in sections--like a chapter book without chapters--for littler ones with short attention spans. To sum, the book has a lovable main character (Gossie), a favorite object (the red boots), a simple plot that's neither too bland nor dramatic (oh, my where are the boots!), latent educational value (all those directional prepositions), light,pleasant, nursury-worthy illustrations, and a positive, slyly humorous conclusion. In short, another winner in the board book category! | ||
 | Harold Melvin & the Blue Notes - Super Hits | |
| "Better Get Hit Into Your (Philadelphia) Soul!" | 2008-04-30 |
| Featuring five now iconic songs, "Super Hits"is a stunning collection of the sometimes overlooked Harold Melvin and the Blue Notes. SInger TEddie Pendergrass was an electrifying, even trail-blazing performer (e.g., his "Ladies Only" concerts). He exuded masculine potency and confidence: massively handsome, his sweetly aggressive singing burst through and cut across the band's R & B, soul, and disco sensibilities. A quick run-through of those classic, all except the first clocking in at over six minutes long! "If You Don't Know me By Now" is an example of Perndergrass' command of tempo and dynamics; the song goes from soft ballad to heated emotion. Pendergrass' voicings, tone, asynchronous phrasing, and physical presence approach that of legends James Brown and Marvin Gaye. "Wake up Everybody" recalls the pro-social messages and exhortations of Gaye, Brown, and the Isleys, exhorting his brothers and sisters to do their best, whether in public or private ("Cut down on drinkin'). At just over six minutes, "Don't Leave Me This Way" offers Pendergrass as a male counterpart to Donna Summers, the long format allows the and and the audience maximal groove time, all punctuated by horns, and Teddys' phrasing inside and outside the beat. SImilary, the band turns the regretful, potentially dirge-like "The Love I Lost" into a pulsing, energetic number. Pendergrass excelled equally on ballads (although as discussed above, the band blurred the lines between ballads and up-tempo songs), pleading, shouting, putting himself out there. Songs like "I'm Weak for You, Baby" and "Yesterday I Had the Blues" do go on a bit too long, but the smooth Chambers Brothers-like backing harmonies, and Pendergrass' emotion are compelling. While some songs have some dated riffs (thank you once again, disco), they're at least, amusing, and, at best, highlight the band's musicianship. "Bad Luck" features some amazing "Wells" (think Kool and the Gang) and whoops from Pendergrass. His raw emotion, and seeming spontaneity even make the almost laughable Barry Whitesque "Be for Real" eminently listable, although it must have been mucb better live. (He lectures his girlfriend/wife on her excessive materialism, repeatedly commanding her to sit down and listen. Overall, Pendergrass' muscular singing, his ability to convey raw, spontaneous emotion, and his stage presence make him one of the most memorable singers of the many genres he mastered. The band's tight backing and vocal backings provide rhythm and texture, and the melodies are catchy but personal (with few exceptions, they sound more personally than commercially driven (e.g., "Wake Up Everybody"). Pendergrass is simply a joy to hear: He sounds like a man who loves and clebrates his music, hia community, his masculinity, and himself. He's self-assured rather than cocky, though, and his music wears very well indeed. | ||
 | Jeff Beck - Truth | |
| "You Must Buy This!" | 2008-02-26 |
| With a sound that could slice through steel, a mod haircut framing his slightly surly face, and a thorough immersion into the Yardbirds' blue-based rock, Beck was one tough muthuh, and he wasn't shy about letting us know that he could play "flash." His pyrotechnical effects on "Truth" would be distracting if they weren't so spot on, almost always lifting the song to new, dazzling heights. It's a dazzling, exhilarating display of power, speed, showmanship, electronic effects, and simple good taste. This new reissue has all the core elements of the original "Truth," (and here I diverge from the majority of reviewers), some mostly unnessary alternative versions--as well as songs not on the original. For example, it has the sublimely ridiculous, commercial, and pandering "Love is Blue" -Not even JEFF BECK can salvage this syrupy mosh. I believe that record producers were more powerful back then. You get two pretty awful tracks at the end of the album, and two good additons, "The Drinking Song," (later popularized by Bette Midler), and a version of "Beck's Bolero" where the bubbling background guitar contrasts superbly with what today we would call "power chords." It's both more evanescent and straightforward than the original, and worth a couple of dollars extra (though the "complete" Truth sells at about the same price as the 12-song original). Face it, though, this album is a classic on the basis of three rock classics, a re-working of the Yardies' "Shapes of Things" (Bowie does a more pop, but excellent version on "Pin-Ups"), with Rod Stewart's imaginative pronunciation and Beck's powerfully electric, piercing lead; "Morning Dew," an apocalyptic number applicable to your choice of atom bombs, naplam, or greenhouse gases (Wikipedia will tell you that, indeed, it was a Bomb-inspired song written by Canadian Bonnie Dobson) with its combination of melodic and tempo-dissonant guitar licks as well as Stewart's best singing; and Beck's version of the great Howlin' Wolf's "I Ain't Superstitious," a Beck-fest of wa-wa laden special effects that has never been equaled, with a bass run by the uncredited Ron Wood that was quite influential over the years. These are the standouts, and they're why this album is cherished and being picked up by a new generation. That popularity is NOT because this is the "Birth of Metal," as some critics, anxious to sell something that doesn't need selling, will claim. This is the high point of blues-based rock, and the glorious, glorified guitar solo (is it only Prince these days who keeps that tradition alive?). The album is too blues-laden to fit the "metal" category, and the playing blows away most metal bands anyway. Besides, "Truth" includes "Greensleeves" and "Old Man River"; the former is a sweet, but not necessary, and the latter is a showboat (pun intended) for Rod Stewart's intense and generally very effective singing. If you can get past later associations with Stewart (for example, the sickenly Playboy juvenalia of the "French girl" murmurs on his much later and much worse "Tonight's the Night") and his smug self-absorption, you can appreciate the raspy voice and confident swagger that make him a rich man's Joe Cocker. He shows nice restraint during the solos, adding a well-timed exclamation or improv here and there (e,g, "Listen!") which adds to the spontaneity. Stewart shows his R and B chops (and strong influences) on "Rock My Plimsoul" and his solid performances on Howlin's Wolf's "You Shook Me" and 'Ain't Superstitious" are solid performances that appropriately lay out for Beck's insane guitar. One of my favorite moments occurs during Beck's solo during the live performance of "Blues De Luxe." THe audience politely applauds him at first, but after he tears into an incredibly tight and intense solo, they lose whatever reserve they had and give him the frenzied appreciation he deserves. It's an electirc guitar analogy to John Mayall's harp solo on "Room to Move." Maybe you need an ego like Beck to play so well for so long. He states that Superstitious was stolen from a Howlin Wolf "riff" (with, we are told, Wolf's explicit permission). Well, really, he pretty much stole the whole song, although it's definitely a Jeff Beck treatment. He implores us to play the longs loudly "for maximum effect," perhaps while having the "Vicar over for tea." The boy is rude--I once heard a story about him screaming at an airplane steward for amother screwdriver (it might even be true), and he rocks like no one else. I'll take Hendrix as my favorite (and the best) rock guitarist, but flashy, stylish, slashing Jeff Beck is not too far behind. Definitely in my top ten rock albums ever; one I play nearly every day at work. | ||
 | Canon PowerShot Pro Series S5 IS 8.0MP Digital Camera with 12x Optical Image Stabilized Zoom | |
| "Extended Warranty Recommended; A Note on Customer Service" | 2008-01-31 |
| Because potential buyers have already done a lot of reseach, and may read Amazon reviews just to confirm their expectations, I recommend that you read the 1* and 2* reviews here as well.
After you warranty runs out, good luck with any possible product defects; that's why I urge you to buy an extended warranty on an expensive product such as this. Here's some excerpts from an email posted to a CNET thread on the Canon A-610 (for the complete thread, please go to http://forums.cnet.com/5208-7593_102-0.html?forumID=58&threadID=243034&start=75) "I've made two phone calls to Canon Factory with no luck. This morning I spoke with a supervisor named ...who refused to budge. I have a very small dent in the top corner of my camera so naturally that's their excuse for charging me (even though it's been dented for over a year and I've taken well over 1000 pictures since and in spite of the "known" CCD problem). I politely mentioned all the cases on dpreview, Amazon and CNET in which consumers are having the CCD problem with their A610's and that Canon HAS made repairs to some A610's free of charge. He quickly and somewhat nastily cut me off saying they don't consider internet reviews as fact. He proceeded to tell me that the A610 CCD has different components than those on the advisory so I asked him who the manufacturer of the CCD was in the A610 and he told me he didn't know... He instead told me that I could have them repair my camera and if Canon later added the A610 to the ["advisory"] list my money would be refunded...he wasn't friendly and when I told him to send my camera back unrepaired he said okay and hung up on me..." Granted, this is NOT the Pro Series camera. However, I post this only as information about post-warranty experiences (again, you may wish to read the thread, or you may see this as entirely irrelevant to your purchase), and the possible advisability of warranty extension. | ||
 | Woodstock Percussion AGLS Amazing Grace, Large - silver tubes | |
| "The Answer is Blowing in the Wind" | 2008-01-12 |
| Woodstock makes several beautiful chime models, many of which "play" the notes of a well-known composition. Of course, this would be the deconstructionist version, because the notes sound in a semi-random order determined by the strength and direction of the wind, and perhaps the size of the individual chimes. No matter what order, however, the familiarity of "Amazing Grace" makes whatever notes sound recognizable as a variant. The tones are clear and beautful. The chime is simple, rather than overly worked or decorous, but that is perhaps most appropriate for "AMazing Grace," anyway. A little pricier than I would like, but this makes an excellent gift that can be enjoyed on several leverls: Visually, aurally, as text, and as part of a larger indoor or outdoor environment. | ||
 | My Farm | |
| "Beautofully Illustrated and Told Reminiscense of Rural Australia" | 2007-06-28 |
| This book attracted me with its beautiful cover, and I expected a well-illustrated, serene pastoral. I was right about the pictures, they're uniformly superb but "My Farm" has a greater narrative and emotional range than its simple title suggests. Between the covers, Lester shows us the fun and the hard work of living on an Australian sheep and cattle farm. "My Farm" skirts the boundaries between the picture book and the chapter book by using three pictures per page, acoompanied by Lester's tightly constructed, informative narrative. Lester is also capable of poetic images that match the soft visuals. This autobiographical book follows the seasonal chores and mischief on a mid-20th centure seaside Australian farm. Lester invokes another time and place through Australian terms (explained at the back of the book), and her pictures of the farm and its surroundings. While farm life (big family gatherings, humorous encounters with siblings, home grown games, horseback riding, community faires) are pleasingly light, Lester doesn't settle into an easy sentimentality. Baby and older animals don;t always make it, and sheep may be slaughtered for food. The latter is depicted by a soft version of something you might see in a butcher shop, nothing gory, but you know what you're seeing.) A recurring subplot involves Lester's desire for a bigger, faster pony. It's no surprise when she finally gets on, but young kids not used to this formula may enjoy the suspense. Disappointed one summer Christmas (Lester reminds us later that the seasons are "reversed" in Australia), young Alison gets her dream horse one Christmas later, waiting for her under an apple tree just ready for plucking. With gorgeous pictures and funny, informative, and sometimes touching vignettes, this is a heart-warming piece of Australiana. | ||
 | My Farm | |
| "Beautofully Illustrated and Told Reminiscense of Rural Australia" | 2007-06-28 |
| This book attracted me with its beautiful cover, and I expected a well-illustrated, serene pastoral. I was right about the pictures, they're uniformly superb but "My Farm" has a greater narrative and emotional range than its simple title suggests. Between the covers, Lester shows us the fun and the hard work of living on an Australian sheep and cattle farm. "My Farm" skirts the boundaries between the picture book and the chapter book by using three pictures per page, acoompanied by Lester's tightly constructed, informative narrative. Lester is also capable of poetic images that match the soft visuals. This autobiographical book follows the seasonal chores and mischief on a mid-20th centure seaside Australian farm. Lester invokes another time and place through Australian terms (explained at the back of the book), and her pictures of the farm and its surroundings. While farm life (big family gatherings, humorous encounters with siblings, home grown games, horseback riding, community faires) are pleasingly light, Lester doesn't settle into an easy sentimentality. Baby and older animals don;t always make it, and sheep may be slaughtered for food. The latter is depicted by a soft version of something you might see in a butcher shop, nothing gory, but you know what you're seeing.) A recurring subplot involves Lester's desire for a bigger, faster pony. It's no surprise when she finally gets on, but young kids not used to this formula may enjoy the suspense. Disappointed one summer Christmas (Lester reminds us later that the seasons are "reversed" in Australia), young Alison gets her dream horse one Christmas later, waiting for her under an apple tree just ready for plucking. With gorgeous pictures and funny, informative, and sometimes touching vignettes, this is a heart-warming piece of Australiana. | ||
| Jeff Beck - Truth | |
| "From the Smashing to the Ridiculous" | 2007-06-08 |
| While most chose Jim Morrison, my youthful Dionysian fantasies took me to Jeff Beck. WIth a sound that could slice through steel, a mod haircut framing his slightly surly face, and a thorough immersion into the Yardbirds' blue-based rock, Beck was one tough mothuh, and he wasn't shy about letting us know he could play "flash." His pyrotechnical effects on "Truth" would be distracting if they weren't so spot on, almost always lifting the song to new, dazzling heights. This new reissue has all the core elements of the original "Truth," (and here I diverge from the majority of reviewers), some mostly unnessary alternative versions as well as songs never on the original "Truth." If you've ever wanted to an aural definition of the word "sell-out" then you've got to hear the ridiculously commercial, pandering "Love is Blue" -Not even JEFF BECK can salvage this syrupy mosh, and one may specualte that record producers were more powerful back then. YOu get three pretty awful tracks at the end of the album, and two good additons, "THe Drinking Song," (later popularized by Bette MIdler), and a version of Bolero where the bubbling background guitar contrasts superbly with what today we would call "power chords." It's both more evanescent and straightforward than the original, and worth a couple of dollars extra (though the "complete" Truth sells at about the same price as the 12-sing original. Face it, though, this album is a classic on the basis of three rock classics, a re-working of the Yardies' "Shapes of Things" (Bowie does a more pop, but excellent version on "Pin-Ups"), with Rod Stewart's imaginative pronunciation and Beck's powerfully electric, piercing lead, "Morning Dew," an apocalyptic number that applicable to your choice of atom bombs, naplam, or greenhouse gases (Wikipedia will tell you that, indeed, it was a Bomb-inspired song written by Canadian Bonnie Dobson) with its combination of melodic and tempo-dissonant guitar licks as well as Stewart's best singing, and Beck's version of the great Howlin' Wolf's "I Ain't Superstitious," a Beck-fest of wa-wa laden special effects that has never been equaled, with a bass run by the uncredited Ron Wood that was quite influential over the years. These are the standouts, and they're why this album is cherished and being picked up by a new generation. That popularity is NOT because this is the "Birth of Metal," as some critics, anxious to sell something that doesn't need selling, will claim. This is the high point of blues-based rock, the glorious, glorified guitar solo (is it only Prince these days who keeps that tradition alive?), an era whose unfortunate macho posing would at least have filtered out such "rock" groups as Dave Matthews, to name just one. There's too much blues, and too much note for note perfection to consider this metal. Besides, "Truth" includes "Greensleeves" and "Old Man River"; the former is a waste of time, and the latter is a showboat (pun intended) for Rod Stewart's intense and generally very effective singing. If you can get past later associations you may have with Stewart (for example, the sickenly Playboy juvenalia of the "French girl" murmurs on his much later and much worse "Tonight's the Night") and his smug self-absorption, you can appreciate the raspy voice and confident swagger that make him a rich man's Joe Cocker. He shows nice restraint during the solos, adding a well-timed exclamation or improv here and there (e,g, "Listen!") which adds to the spontaneity. His work on Howlin's Wolf's "You know you Shook Me" and 'Ain't Superstitious" are solid performances that appropriately lay out for the Beck's insane guitar. Maybe you need an ego like Beck to play so well for so long. He states that SUperstitious was stolen from a Howlin Wolf "riff" (with, we are told, Wolf's explicit permission)--well, really, he pretty much stole the whole song, although it's definitely a Jeff BEck treatment. He implores us to play the longs loudly "for maximum effect," perhaps while having the "Vicar over for tea." The boy is rude--I I was heard a story about him screaming at an airplane steward for amother screwdriver--it might even be true), and he rocks like no one else. I'll take Hendrix as my favorite (and the best) rock guitarist, but flashy, stylish, slashing Jeff Beck is not too far behind. | ||
 | Crystal Feng Shui Chime | |
| "Feng or Feign" | 2007-04-22 |
| That's an awful lot of hyperbole in the product description, and it could all have just as much to do with acoustics and Western aesthetics as it does with actual Feng Shui principles. Those principles can be very basic (balance yin and yang), or they can be studied on a deeper level. However, whether or not applying Feng Shui principles realigns energies, establishes balance, etc., is something for the individual to decide--not for me to review (aside from questioning the somewhat bogus sounding Feng Shui claim in the description above). Suffice it to say that I did not like either the sound or the look of the FengShui Chime, especially compared to other Woodstock products. To my ears, these chimes sound thin and jangley. Perhaps some hear this as energetic. I also thought the reflecting substance hanging down from the chimes (the "crystal") looked fairly cheap and very non-crystalline. All the right words are there--Woodstock, Feng Shui, Crystal--but the performance doesn't match the description. | ||
 | Sophie's Window | |
| "The Flight of the Pigeon" | 2007-03-27 |
| Young pigeon Caruso is anxious about learning to fly, although his relaxed parents aren't pushy: "Tomorrow" would be good enough. Tomorrow comes today, however, when a strong gust of wind blows Caruso off the roof and onto the apartment balcony of mellow dog Sophie. Sophie seems unconcerned, or, at least, ignorant of the difficulty of that first flight. SHe disappears to eat lunch (well, she IS a dog), and then helps Sophie find her way back home. Caruso is skeptical, "How will you find it?" In a great dog-literate line, Keller's Sophie replies, "A dog knows the streets." The middle section, in which the bird rides Sophie's back to her building, and they get to the roof via elevator, seems too much like filler. There's no real excitement here, nor do we get any insight (or laughs) related to the animals' personalities. However, the watercolor pictures remain compelling: Unusual illustrations of rooftops, a dog's-eye perspective of the street (all those shoes), the pulleys underneath an elevator, and the rooftop hutch in which Caruso and his parents live... Frankly, it's these pictures, painted in beautiful colors (especially the sky blue) make the book more than its story. Caruso misses his canine friend, and one day--looking much bigger and much more confident, he flaps "harder and faster and harder and...He was flying! (Accompanied by another lovely picture showing a longshot of the pigeon flying over the small town. It turns out that Sophie missed her bird friend too: "I knew you would come," she said. The conclusion is quiet but shows their newly plausible friendship. "Will you come back tomorrow?" "I will," promises the bird, thus subtlely reminding kids that a conquered fear (all in good time, of course, no need to rush) can bring new, happy possibilities. It also shows parents that all trips back and forth between their young kids' houses is worth it. I would have like a little more personality and creativity in the book, but the toddler crowd will enjoy its reassuring development and some truly captivating pictures. Published by Greenwillow. | ||
 | Witch Hazel-Rose Petal - 11.5 oz. - Liquid | |
| "The Good Witch of the North (East)" | 2007-03-25 |
| Thayer's, a venerable Westport, Connecticut company, has invented an extremely satisfying and effective alternative to plain old witch hazel, well known for its astringent, mild exfolliant, and cleansing properties. This cocktail for the skin really does smell like fresh rose petals, which is both amazing and expected since it is made with ... Purified Rose Water! There is no alcohol-like smell; in fact, thre is no alcohol. I won't repeat all the ingredients since Amazon.com helpfully lists them in the "product description," but they include soothing aloe vera, Vitamin E, and grapefruit seed extract. While the ingredients appear to have moisturizing qualities, I notice and appreciate most the fresh clean feeling I have after using it. | ||
 | Miele TYPE F J M Intensive Clean PLUS Vacuum Cleaners Bags | |
| "Let a Miele Be Your Umbrella!" | 2007-01-24 |
| I've already reviewed the Miele vacuum cleaner itself, along with the Turbo brush, so I'm a fan of the pricy-but-worth-it-if-you-can-afford-it sucker. If you're reading this, you're probably one too, so I'm not gonna talk about the vacuum cleaner on a net page selling the bags. I'm just going to relate information on the box about what Miele vacuums this goes with, on the theory that's the main question you have. It's not entertaining, but perhaps it's useful:
S241 - S256 i S290 - S291 S300 i - S399 S500 - S578 S700 - S758 S4000 - S4999 The box comes with 5 bags (they;re strong, I've discovered), 1 dust compartment filter, and one "super air clean filter." Miele uses a HEPA filter, known for its allegy protection. Long-lasting, worth it. | ||
 | Sonny Rollins - Freedom Suite | |
| "4 1/2 A Musical Analysis: Superb Improv within Basically COnventional Structures" | 2007-01-24 |
| Perhaps as well-known for its political implications/reflections as it is for its music, "Freedom Suite" is probably the first attempt by a hard bopper at the "long from" --extended improvisation lasting more than the usual 3-5 minutes. In my opinion, the master (other than the semi-classical aesthetic of Ellington, who frequently used terms such as "Suite" and "Concerto"), the master of the form is composer/bassist Charles Mingus. In contrast to these two giants, Rollins works within a trio format, thus presenting a heavier burden on each musician. Fortunately, ROllins' trio has three greats, Rollins, Oscar Pettiford on bass, and Max Roach on drums. Bottom line: This is an excellent, although not "essential" (whatever that vague term means) album that's worth your time and money if you're a fan of Rollins, post-bop, the long-form, or generally consider yourself a jazz fan. What follows are more extended notes on the cuts, especially the 19-minute "Freedom Suite." The first movement of "Freedom Suite" (19 minutes, 17 seconds) begins with a simple, fairly light riff, with drums and bass filling in between restatements. Then Sonny Rollins improvises against the riff's rhythm and harmonies--one can still hear the basic melodic structure as well. Rollins fluid sound contrasts in an interesting way with the sharply percussive, punctuated rhythm section. As is frequently the case, the improvisations move further from the basic theme, but he still makes this center a home. Bassist Petitford has an excellent, nimble solo, and then Rollins plays, this time sounding more like the rhythm section, with shorter bursts of sound introducing an exciting yet economical Max Roach solo. IN short, the first movement is fairly conventional structurally and sonically, it seems like a warm-up. We're soon treated to a different theme, somewhat more anguished and blues-based, with superb bowed bass backing Rollins thoughtful flights and bursts. He changes tempo suddenly, and the anguish is both softer and more sullen, more thoughtful. The tone is very satisfying, neither overly dry, nor so rich that it would overshadow the emotional impact. Rollins melody and tempo conveys both bitter feelings and a sort of yearning/quiet hope. Much of it is beautiful. The third movement has a curious energy, with the band prowling around some mysterious territory, searching, stopping, then taking off in a different direction altogether. It feels like a trapped tiger running quickly through a labyrinth, speeding and altering course. It's a very short but effective section. The final section is much more hard-boppish, propelled nicely by the tight rhythm of Roach and Petitford, with several energetic long lines by Rollins. The three band members take memorable turns, complementing each other superbly. The mood does suggest a measure of increased freedom, a breakout, with the ultimate outcome unknown In a final, elegant, statement, Rollins seems to suggest the dignity of his dream. Things are understandably more casual on "Someday I'll Find You," (4:35) with Rollins sounding somewhat dryer (although not even approaching Jackie McLean's tone). It's most notable for the tight playing and hard bop aesthetic, and some excellent, varied drumming patterns from Max Roach. They return to the melody in the final 45 seconds or so. "Will You Be Mine" is somewhat in the same vein, with a Mingus-like conclusion. There are two versions of the lovely "Till There Was You," fans and musicologists will note that these are Take 4 (4:54) and Take 3 (4 :55). Both are slow, with Rollins playing some interesting solo breaks. I found Take 3 more satisfying, Rollins blowing a smooth, very confident sound against a "cooler" bass and drums. The tones are somewhat rounder, and the more subtle background gives Rollins' statement a clearer voice. The final cut show Rollins in a more contemplative mood, with a fine, rich Petitford solo, out of which Rollins voices snippets of sound, like fragments of some larger riff. Then, as if often the case here, he concludes on a mellow tone. Although Rollins doesn't master the much vaunted "long form" as well as Mingus, Freedom Suite (the composition, not the album), conveys emotion, and shows improvisorial abandon within its structure. That structure is a little too constrained, although that may be due partially to the 3-piece band (as opposed to the nonets, etc., employed by Mingus). Although Rollins, at this early, stlll primarily post-bop stage, doesn't take the chances that Mingus did, his probing, exploring sounds and expression are mostly compelling, and the band is superb. Recommmended. | ||
 | The Bully Blockers Club | |
| "Oh, You Can't Bully Me, I'm Sticking to the Union!" | 2007-01-21 |
| This excellent book deals with the problem of school bullying in a realistic way that kids will relate to. When Lotty the raccoon goes to the first day of school--all happy and hopeful--she soon encounters Grant Grizzly (that name was my best clue about what kind of animal Grant is), a bully of the first degree. He insults her, calls her names, steals her things, and more! Lotty asks her older brother and sister for help. WHile the brother suggests retaliation, this idea is quickly rejected. Sister Lilly suggests telling the teacher, but Lotty has gotten it into her head that this is "tattling." Stll, her siblings suggest remedies that often work in kids' books: 1. Ignore Grant. 2. Try being friendly to him. 3. Make a joke out of it. Thankfully, author Teresa Bateman shows that there's no magic solution to the problem of bullies--none of these methods works. When the parents get into the picture, Dad alerts Lotty's teacher to the problem, and this is a good first step. However, Lotty recognizes that Grants does the bulk of his teasing when adults are NOT around. So she devises a clever plan: She devises a self help "Bully Blockers Club," whose members look out for each other when bully Grant attacks. THey discover that there's strength in numbers, and that adults are quicker to be on the alert when kids work together to point out common problems: "Kids spoke up when they saw something wrong and reached out to anyone who looked lonely" "....The adults were watching too, at lunchtime and at recess and in the halls. After a while Grant didn't seem as big and scary. One morning he even helped Lotty when her backpack spilled." The teacher also changes attitudes towards "tattling," and takes the morning off from math (!) to problem solve ways to help kids feel safe at school. The back of the book has a very helpful one-page afterward, "About Bullying" which explains some techniques (including thinking before you react, stating your feelings, leaving, using humor, ignoring, and telling a trusted adult, working against the notion of "tattling") that will help kids abd adults build a safe school environment. I'm dinging the book a bit because the pictures, while adequate, lacked enough style and imagination. | ||
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