Book Description
From now on, backseat pleas of "Are we there yet?" will be replaced with "Can we go for another ride?" Introducing ALL-AMERICAN CAR-I-OKE-yes, karaoke for the car-a kit including a book of 15 great family sing-along tunes and activities galore, an accompanying CD of music, and three booklets of lyrics for the back seat and the way-back.
Sing a gutsy, rocking version of Proud Mary-and learn some cool seat-dancing moves to go with it. Put on a show voice for Give My Regards to Broadway. Play a mad-lib version of mix-and-match lyrics with the Are We There Yet Blues. Pair off for the cowboy duet Red River Valley, raise a tear with Danny Boy, put on your best hillbilly voice and tell the story of Big Rock Candy Mountain (with some new child-friendly lyrics). And take the Car-i-oke Challenge: Try to hit the high note-land of the free-eeeeeee!-of The Star-Spangled Banner.
The CD, recorded in Nashville, ranges from big instrumental productions with full horns to jug-band fun; vocals are added where needed to help the singers along. The 64-page book includes full lyrics to all the songs, plus tips on singing, road song quizzes, travel trivia, lessons in back seat drumming, and other musical activities. The three booklets have just the lyrics. It's an all-American, all-family musical extravaganza.
Customer Reviews:
Great activity!.......2007-09-04
This was good for at least an hour of no-bickering drive time. It isn't "kiddie" music, so it's entertaining for the adults, as well. Several extra copies of the lyrics mean you can lose one without harm. The cover and binding are durable, to put up with the abuses of living in a family vehicle. I'm looking at the holiday version next.
Road Tested and Approved!.......2007-01-23
I road tested this item with my three children on a long car ride a couple of years ago. It was a huge hit with my family, so I highly recommend it at my website [...]. Even after two years, we still use it frequently on trips, so it has given us more than our money's worth.
It comes with a CD for the music and several extra copies of the lyrics in smaller booklets for everyone in the car (no fighting!). The CD does a great job of giving "musical cues" when you are supposed to start singing, and there is such a variety that there is sure to be something that everyone will like - including the adults!
One of our favorites is the "make your own blues" song. My kids loved making up their own lines for that song in addition to the suggested lyrics. They also really love "Big Rock Candy Mountain" which was full of hilarious kid humor. The backseat drumming is also very popular. One thing we also love to do with this is to practice singing the Star Spangled Banner together. It can be a hard song to sing sometimes, but my kids are now pros and can belt out our National Anthem with pride.
We never go on a road trip without this item. I'll be buying the Christmas version of this next.
Entertained my kids on a long car ride.......2006-11-03
I wasn't sure how this would go over with my 7 and 9 year old girls, but we had a lot of fun with it on a l-o-n-g car ride home from vacation this summer. Not all the songs were familiar to us, but learning the lyrics was part of the fun.
This gets three thumbs up from the girls and me and one from my husband, who was driving, and glad no one was complaining about being in the car so long.
all out fun with the american carioke.......2003-10-10
bought this book because my grandchildren and I enjoy singing together. we weren't in a car; we were in my house. we sang all of the songs and had a rollicking good time. it was all very jolly; buy it!
Book Description
A distinguished New York Times editor explires the history of the pipe organ in America in a book that will intrigue and delight anyone interested in classical music and popular culture.
For centuries, pipe organs stood at the summit of musical and technological achievement, admired as the most complex and intricate mechanisms the human race had yet devised. In All The Stops, New York Times journalist Craig Whitney journeys through the history of the American pipe organ and brings to life the curious characters who have devoted their lives to its music.
From the mid-19th to the mid-20th century, organ music was wildly popular in America. Organ builders in New York and New England could hardly fill the huge demand for both concert hall and home organs. Master organbuilders found ingenious ways of using electricity to make them sound like orchestras. Organ players developed cult followings and bitter rivalries. One movement arose to restore to American organs the clarity and precision that baroque organs had in centuries past, while another took electronic organs to the rock concert halls, where younger listeners could be found. But while organbuilders and organists were fighting with each other, popular audiences lost interest in the organ.
Today, organs are beginning to make a comeback in concert halls and churches across America. Craig Whitney brings the story to life and up to date in a humorous, engaging book about the instruments and vivid personalities that inspired his lifelong passion: the great art of the majestic pipe organ.
Customer Reviews:
All the Stops: The Glorious Pipe Organ and Its American Masters.......2006-03-22
What a excellent book about the pipe organ and some of the major artists that played the instument in America. It is highly informative about the lives of E. Power Biggs and Virgil Fox, two very prominent organists in developing interest in the pipe organ in America. It is a "must-read" book for anyone who enjoys the "king of instruments"!
organ awareness.......2006-03-15
All the Stops is a pretty concise overview of the hitsory of the pipe organ in North America. There's lots of information but it's not written in a text book way.
PULLS OUT ALL THE STOPS.......2005-05-18
The pipe organ - "the King of Instruments" -- has long been worshiped by Bach lovers but underappreciated by other classical music fans. At music conservatories, organists have been outsiders joined by a common passion. All that may be changing thanks to a pipe organ renaissance underway in this country and swell of interest generated by this book. Organist and New York Times writer and editor Craig Whitney clearly knows how to tell a good story. Rather than turn out a muddled and boring history with every name, place and date, he tracks the competing ideas and conflicting personalities of America's top organ builders (Edward Skinner, Donald Harrison, Charles Fisk) and its two most influential performers ("purist" Powerful Biggs and "showman" Virgil Fox). It's a dramatic story of clashing egos, cultural shifts, economic realities and esthetic choices. As a Bach organist, I long wished for this book but thought it a "pipe dream." Bravo, Craig Whitney.
Surveying both master organ builders and players alike.......2005-03-11
For centuries pipe organs were the most complex mechanisms the human race had devised, but only a handful of books have surveyed its history. In All The Stops: The Glorious Pipe Organ And Its American Masters, Craig Whitney, NY Times Journalist and editor, focuses on the history of the American pipe organ and its fans, surveying both master organ builders and players alike. An excellent history is revealed in a specialty item which will appeal beyond the classical crowd.
Excellent Book!.......2004-01-19
I received this book as a Christmas present this past year. It didn't take me long to read it from cover to cover! Whitney provides a great history of the pipe organ from E.M. Skinner's era up through today, including two very informational biographies of both E. Power Biggs and Virgil Fox, the organ showmen of the 20th century.
I would highly recommend this book to anyone even remotely interested in the pipe organ. Whitney has a very easy writing style to read, often incorporating definitions of the organ terms he uses as he goes along. He also includes a glossary of other terms at the end for further clarification. I thoroughly enjoyed this book!
And just as an end note, I believe that those who review books online (such as Bob Myers, July 14 2003, below) should remember that this is a chance to voice OPINIONS. Nobody can judge an opinion, such as his statement that this book is "boring." But it would be much more accurate for him to state that this book is, in HIS opinion, boring... rather than possibly giving someone who would very much enjoy this book the wrong idea before they even read it.
Book Description
The birth of rock 'n roll ignited a firestorm of controversy--one critic called it "musical riots put to a switchblade beat"--but if it generated much sound and fury, what, if anything, did it signify? As Glenn Altschuler reveals in All Shook Up, the rise of rock 'n roll--and the outraged reception to it--in fact can tell us a lot about the values of the United States in the 1950s, a decade that saw a great struggle for the control of popular culture. Altschuler shows, in particular, how rock's "switchblade beat" opened up wide fissures in American society along the fault-lines of family, sexuality, and race. For instance, the birth of rock coincided with the Civil Rights movement and brought "race music" into many white homes for the first time. Elvis freely credited blacks with originating the music he sang and some of the great early rockers were African American, most notably, Little Richard and Chuck Berry. In addition, rock celebrated romance and sex, rattled the reticent by pushing sexuality into the public arena, and mocked deferred gratification and the obsession with work of men in gray flannel suits. And it delighted in the separate world of the teenager and deepened the divide between the generations, helping teenagers differentiate themselves from others. Altschuler includes vivid biographical sketches of the great rock 'n rollers, including Elvis Presley, Fats Domino, Chuck Berry, Little Richard, Jerry Lee Lewis, and Buddy Holly--plus their white-bread doppelgangers such as Pat Boone. Rock 'n roll seemed to be everywhere during the decade, exhilarating, influential, and an outrage to those Americans intent on wishing away all forms of dissent and conflict. As vibrant as the music itself, All Shook Up reveals how rock 'n roll challenged and changed American culture and laid the foundation for the social upheaval of the sixties.
Customer Reviews:
It's time to rock.......2007-01-05
Rock n roll may seem like an odd choice for a pivotal moment in American history but altschuler supports his thesis very well and by the end I was convinced. This book is an overview of the business, politics, race relations, and generational relations stemming from rock and roll. It looks at rocks early years through the "day the music died". If you are looking for a book that will serve as an introduction to the rock n roll movement then look no further. I was very impressed with the information presented and as someone who knew nothing about the history of rock when I started I was pleased with how much I learned. It leaves a few places hanging such as what happens to Elvis after he joins the army but mostly it covers everything in the right amount of detail. Highly recommend.
A wonderful indisciplinary review of seismic social change, reflected and caused by rock and roll........2006-11-22
"All Shook Up - How Rock `N' Roll Changed America" by Glenn Altschuler is a terrific and well documented book on the seismic social, sexual and racial changes in the United States that was both reflected and precipitated by a new music sweeping the nation in the 1950s and 1960s. This new music with its roots deeply entrenched in largely black American R&B and Gospel literally shook a nation that wanted to believe itself innocent but was undergoing rapid change with the return of combat vets, the ensuing Baby Boom and the suburbanization of our country. Disposable income was rapidly on the rise and technological marvels of the day, such as the transistor radio, rapidly spread this revolutionary new music. Altschuler does a superb job in his narrative documenting this revolution from both a societal and a musical perspective. He is perhaps at his best in describing the backlash against rock and roll as it began break in a color barrier that was still sacred to many, mostly white, Americans. He quotes authors of the day, "with tom-toms and hot jive and ritualistic orgies of erotic dancing, weed-smoking and mass mania, with African jungle background. Many music shops purvey dope; assignations are made in them. White girls are recruited for colored lovers . . . and guarantee a new generation subservient to the Mafia". Obviously some strong backlash.
Oxford University Press is to be commended along with the editors of this series, Pivotal Moments in American History, David Hackett Fischer and James M. McPherson for living true to their words of historical interpretation and reporting "they were the results of decisions and actions by people who had opportunities to choose and to act otherwise". Also by showing "increasing sensitivity to issues of race, ethnicity, class, and gender in the context of large structures and processes". This volume is a classical one of American Studies, an interdisciplinary review of a period of time where social change was rapid. Researching or writing about this time through the lens of only one discipline would clearly have short-changed this era. Neither Altschuler nor Fischer and McPherson allowed that to occur and, in a sense, showed academic bravery for writing a serious book about our social history with rock and roll interwoven throughout.
A good read.......2003-09-02
A fine and compelling read, even if the author fails to nail down the premise in the subtitle. One or two factual errors don't detract from the overall fascinating story of the rise of rock and roll in the mid-1950s and the payola scandals of the late 1950s. Recommended.
A big part left out:.......2003-08-12
I just finished reading, "All Shook Up." Although some of Altschuler's sociological themes are very interesting, particularly those dealing with the lingering effects of rock and roll on white America, his discussions of the formative years of rock and roll and the seminal crosssover influences are vey weak, and from my perspective, inaccurate and superficial. Altschuler would like the reader to believe that it was primarily big name individuals (Presley, Berry, Boone, Nelson, etc.) who were the most influential in bringing rock and roll to the general culture. Although individual musicians played an important role in the evolution of rock and roll, it was the early rhythm and blues and doo wop groups that provided the most important and earliest crossover influences. There are many other books dealing with the early influence of such groups, but in this book, they are given relatively little attention compared to individual singers. Also, having grown up in the forties and fifties in Brooklyn, New York, my recollections are quite different from the accounting presented in this book. By the time Presley, Berry and other individuals mentioned in this book arrived on the scene, the crossover process was well underway. What happened before Presley, etc. is a critical part of the historical record and warrants much more attention than is presented in this book. In reading this book, I had the same feeling that I have had visiting the Rock and Roll of Fame - the creative and historical influences of rock and roll on our culture are lost, relatively speaking, to name recognition occurring several generations down the road.
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All American Songbook
Manufacturer: Warner Bros Pubns
ProductGroup: Book
Binding: Plastic Comb
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ASIN: 0769208304 |
Product Description
A Community Songbook. 144 pages, featuring the standards, pops country and traditional songs that are identified with our American tastes and personalities.
Book Description
The forgotten history of the “all-girl” big bands of the World War II era takes center stage in Sherrie Tucker’s Swing Shift. American demand for swing skyrocketed with the onslaught of war as millions—isolated from loved ones—sought diversion, comfort, and social contact through music and dance. Although all-female jazz and dance bands had existed since the 1920s, now hundreds of such groups, both African American and white, barnstormed ballrooms, theaters, dance halls, military installations, and makeshift USO stages on the home front and abroad.
Filled with firsthand accounts of more than a hundred women who performed during this era and complemented by thorough—and eye-opening—archival research, Swing Shift not only offers a history of this significant aspect of American society and culture but also examines how and why whole bands of dedicated and talented women musicians were dropped from—or never inducted into—our national memory. Tucker’s nuanced presentation reveals who these remarkable women were, where and when they began to play music, and how they navigated a sometimes wild and bumpy road—including their experiences with gas and rubber rationing, travel restrictions designed to prioritize transportation for military needs, and Jim Crow laws and other prejudices. She explains how the expanded opportunities brought by the war, along with sudden increased publicity, created the illusion that all female musicians—no matter how experienced or talented—were “Swing Shift Maisies,” 1940s slang for the substitutes for the “real” workers (or musicians) who were away in combat. Comparing the working conditions and public representations of women musicians with figures such as Rosie the Riveter, WACs, USO hostesses, pin-ups, and movie stars, Tucker chronicles the careers of such bands as the International Sweethearts of Rhythm, Phil Spitalny’s Hours of Charm, The Darlings of Rhythm, and the Sharon Rogers All-Girl Band.
Customer Reviews:
The Best History of Women Jazz Musicians Ever.......2000-08-08
This book is a fascinating and unique book on jazz, gender, and race. Thoroughly researched and beautifully written, Swing Shift documents the central position black and white women musicians played in the Swing Era and World War II. Sherrie Tucker combines oral histories with archival research, producing a stunning record of what history books can be and what jazz women are. Most amazing is the author's analysis of race and racism as structuring aspects of the music industry, jazz history, and contemporary accounts of the 1940s. Swing Shift is the most accomplished book on women, music, and race that I have ever read; it is a gift as remarkable, talented, honest, funny, and captivating as the women musicians Dr. Tucker researched and loves.
More Than Just My Grandma.......2000-07-10
My Grandmother was part of an all-girl band during this era, and still plays strong today. She was contacted to participate in the making of this book and thus my interest in reading the work was peaked. However, I soon realized there is so much more the book offers. Starting with a detailed historical description of the way African-American women were treated, the book moves on to cover a wide variety of trials women went through to get their music heard. I highly recommend the book for anyone interested in Jazz, in history, in women's study, or in just understanding the power of music, of voice, and of struggle throughout the ages of this society.
Book Description
Two generations of American music lovers have grown up listening with Robert Christgau, attuned to his inimitable blend of judgment, acuity, passion, erudition, wit, and caveat emptor. His writings, collected here, constitute a virtual encyclopedia of popular music over the past fifty years. Whether honoring the originators of rock and roll, celebrating established artists, or spreading the word about newer ones, the book is pure enjoyment, a pleasure that takes its cues from the sounds it chronicles.
A critical compendium of points of interest in American popular music and its far-flung diaspora, this book ranges from the 1950s singer-songwriter tradition through hip-hop, alternative, and beyond. With unfailing style and grace, Christgau negotiates the straits of great music and thorny politics, as in the cases of Public Enemy, blackface artist Emmett Miller, KRS-One, the Beastie Boys, and Lynyrd Skynyrd. He illuminates legends from pop music and the beginnings of rock and roll--George Gershwin, Nat King Cole, B. B. King, Chuck Berry, and Elvis Presley--and looks at the subtle transition to just plain "rock" in the music of Janis Joplin, the Rolling Stones, Eric Clapton, Aretha Franklin, James Brown, and others. He praises the endless vitality of Al Green, George Clinton, and Neil Young. And from the Rolling Stones to Sonic Youth to Nirvana, from Bette Midler to Michael Jackson to DJ Shadow, he shows how money calls the tune in careers that aren't necessarily compromised by their intercourse with commerce.
Rock and punk and hip-hop, pop and world beat: this is the music of the second half of the twentieth century, skillfully framed in the work of a writer whose reach, insight, and perfect pitch make him one of the major cultural critics of our time.
Customer Reviews:
Grown Up All Wrong--And Proud of It.......2007-06-30
It's telling that in the nearly ten years of this book's existence, it has accrued exactly one "customer review" (prior to this one, which hopefully will see the light of day). But (and this is a big but) if you look at the "Editorial Reviews," you could easily be overwhelmed by all the ink that's been spilled (or bits that have been keyed) on the subject this not-so-humble collection of essays on some the pop and rock musicians that the author believes have mattered most. The level of meta-criticism is pretty astounding and certainly gives credence to Christgau's self-proclaimed, hopefully somewhat ironic status as "The Dean of American Rock Criticism." He is important, at least, to other critics, it seems. Does the man or woman on the street or the fan in the aisles care particularly much? Maybe not, but they likely have glanced at his Consumer Guide a time or two, at least to check out the assigned letter grade of some favorite recent release.
The Consumer Guide, which Christgau himself refers to as his "signature venue," proved to be something of a stroke a genius when first introduced over thirty years ago. Helping music "consumers" make wise purchases was probably the least of the author's goals. But its capsule review format did give the ambitious young critic occasion to evaluate and pronounce judgment on much more "product" than he otherwise ever would have. That and his erudite-but-breezy style helped him make a name for himself and ultimately to clinch the coveted "Dean" slot (if indeed there was ever any serious competition).
So how seriously are we to take this guy anyway? Well, the beauty of rock criticism is that you get to choose. Christgau (or Greil Marcus or Lester Bangs or Dave Marsh) is about as important as you allow him/them to be. I mean you can justifiably get a bit irritated at a writer who prides himself on doing what he could to "let out some of [rock music's] hot air" and then proceeds to blather on about "what a burden counterhegemonic expectations impose in a world where the most consciously and cannily political culture....remains tragically if not ridiculously superstructural." Yikes, prasing like that doesn't seem worth deciphering even if you could.
In all fairness though, you CAN plow through most of these essays fairly handily if you decide to make the effort (and I do recommend you try). In fact, compared to his most recent Consumer Guide entries, these longer efforts--portraits all of music greats the author genuinely cares about--are models of clarity. Christgau seems genuinely eager to share his musical passions with the reader and the extended format of the New Journalistic essay allows him to do just that. (The CG reviews by contrast are often inscrutable these days, obscure ruminations on relatively obscure--though possibly quite deserving, who-can-tell?-- artists).
The point is that as unconventional a writer as Christgau strives to be, his essays have a beginning, a middle and an end, and the reader who might never have considered giving George Jones or George Gershwin or George Clinton a serious listen might well be inclined to do so after reading the author's comprehensive, and, yes, insightful commentaries. Whatever else you might say about Robert Christgau, this is a guy who thinks long and hard about popular music and culture. In so doing, he articulates what many of his readers may have--perhaps only cursorily--thought about such matters as Bonnie Raitt's earnest sense of mission or B.B. King's enormous work ethic or John Lennon's valiant efforts to "smash alienation."
We've all probably known someone like Robert Christgau at some point in out lives. He's like the know-it-all kid whose smugness you could mostly forgive because, hey, he really WAS smart, and whose occasional obnoxiousness, you couldn't help but note, was inextricably mixed with a genuine passion for his subject matter. Christgau is no kid, of course, and neither are most of his readers. But he still is excited about his subject matter. And if HIS subject matter happens to be the same as YOUR subject matter, you find you can find yourself sharing that excitement and cutting the guy a bit of slack--no matter how many times he uses the word "bricolage."
the best popular music critic currently writing.......1998-11-20
I've been following Christgau's work in the Village Voice for almost twenty-five years now. Though he can be a bit prolix, if there exists a more astute observer of pop culture, I've failed to find him/her. Chief among his many strengths as a critic is the fact that he (like the sorely missed Pauline Kael) has never forgotten that art should first be pleasurable. He is also as immune to knee-jerk put-downs (cf his recent favorable review of rap artist Canibus) as he is mindless hype. In short, he has the best ears in the business and will extend both your listening range and pleasure if given half a chance.
Book Description
All 12 songs from the 2005 sophomore release from this Oklahoma band, including: Change Your Mind * Dirty Little Secret * Move Along * Night Drive * Stab My Back * Top of the World * and more.
Customer Reviews:
Great Book.......2006-08-22
This is a very good book for anyone who wants to learn how to play their songs on the guitar. Very easy to pick up and understand. Comes with both musical notation and tablature.
Recommended.
Book Description
Collects for the first time major lesbian plays from controversial cultural perspectives spanning more than a generation of work in varied theatrical styles representing an amazing gamut of lesbian politics from all over America. Includes: The Quintessential Image (Jane Chambers) * The Postcard (Gloria Joyce Dickler) * A Lady and a Woman (Shirlene Holmes) * Nasty Rumors and Final Remarks (Susan Miller) * Desdemona (Paula Vogel) * and more!
Customer Reviews:
Useful, clear, interesting........1999-04-25
I initially used this book as a reference tool in writing on Jane Chambers (whose _The_Quintessential_Image_ is anthologized within). However, the other plays and author biographies grabbed my attention and I found them to be helpful in research on other playwrights and modern lesbian dramas.
Product Description
A compilation of music and lyrics of popular American song favorites from the Civil War to World War II. From "Anchors Aweigh" to "Home On the Range",and from "K-K-Katy" to ""Love's Old SweetSong", and 165 more. Originally priced (and printed in this book) for 35 cents, this collectible is out of print.
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All American Boogie Woogie
Bill Irwin
Manufacturer: Creative Concepts
ProductGroup: Book
Binding: Paperback
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ASIN: 1569220212 |
Product Description
This revised edition features striking Kandinsky cover art and 20 boogie woogie classics masterfully arranged for intermediate piano solo. Table of contents: 'Way Down Yonder In New Orleans Aba Daba Honeymoon Ballin' The Jack Bill Bailey, Won't You Please Come Home Bumble Boogie By The Light Of The Silvery Moon Chinatown, My Chinatown Down Among The Sheltering Palms Hindustan I Want A Girl (Just Like The Girl That Married Dear Old Dad) Ja-Da Margie Oh, You Beautiful Doll Put Your Arms Around Me, Honey St. Louis Blues The Glow Worm The Wang Wang Blues Wabash Blues When My Baby Smiles At Me When You And I Were Young, Maggie
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