The Trouble With Music

Book Description

There is a crisis facing music. The signs are everywhere, from the saturation of public space by tuneful trivia to the digital downloading controversy. Quantity has replaced quality. The number of units sold is now the criteria by which music is judged and high-gloss, mass-produced, low-content music is everywhere. You can't shop, eat, ride a bus or see a movie without hearing it as each day you are inundated with enticements to buy it. Like the replacement of essential nutriment by junk food, music lovers are expected to surrender their critical faculties and consume the phony McMusic that can be more effectively controlled and profitably sold than the genuine article.

Callahan unravels and elucidates the crises facing music as well as its liberatory potential. The Trouble with Music includes discussions of: technology and its effects on music making and listening; superabundance and the absence of critical thought; the development of radio; music criticism; copyright; the digital domain and the Internet; labor and music making; and the special relationships among words, dance, politics and music. A large segment of the general public seeks a relationship to music and an exceptional profit for those who own and control it. Callahan provides a means of evaluating music and a powerful critique of the music industry. Whether you whistle at work, sing in the shower or conduct concertos, this book will challenge and enhance how you think about music.

Includes introductions by musician and Dischord Records founder, Ian Mackaye; Rock and Rap Confidential editor, Dave Marsh; and an afterward by Boff, from the multimillion selling group Chumbawamba.

Mat Callahan has been a composer, musician, engineer and producer for 40 years.

Customer Reviews:

Music makers, activists, and music theorists, please read this book!.......2007-09-06

While I am not a musician (unless you count playing the air guitar, in which case, I totally rock!), I found this book both highly educational and fun. Providing an inspirational left libertarian anaylsis of the corporate music industry, Callahan insists that if music is in crisis (which it is), it's because humanity itself is in crisis. Rather than reflecting our collective experiences of political struggle, human suffering, and celebration, mass produced music has become like fast food, inundating the market but providing no real nourishment. From the plight of pirate radio stations to the digital downloading controversy to the labor battles of musicians, this book explores the myriad ways that art and politics intersect in our culture. Because the ruling-class fears the radical potential of music to transform the world, music has historically been the target of censors. As the blacklisting of musicians like The Weavers in the United States and the murdering of folksingers like Victor Jara during the Pinochet regime in Chile have proven, music is not a marginal issue for civil libertarians.
Moreover, like land, like water, like DNA, music should belong to the commons to benefit all of humankind rather than being monopolized by a few corporations. As such, Callahan argues not only for a music of liberation, but for the liberation of music. Linking the erotic to the political, Callahan furthermore feels that we should root our music and our activism in our deepest feelings of interconnection, being alive, and being in love. The love he speaks about however is not the kind of shallow sentimentality bubble gum boy bands sing about, but the brave kind of love that energized the labor movement of the '30s and the anti-war and civil rights movements of the '60s. Though the corporate music industry oftentimes exploits sexuality for profit, it does not/can not allow sexuality to unify communities in pursuit of social justice. Because the power of carnival is connected to the slave drum and the power of political demonstrations, the ruling-class seeks to control communal gatherings that encourage the sharing of music, political ideas, and solidarity. Though activist musicians like David Rovics, Pamela Means, Mercedes Sosa, Michael Franti, Rage Against the Machine, Ryan Harvey, Sweet Honey In The Rock, Silvio Rodriguez, and Holly Near continue to make important music, sadly, very few individuals outside of the counterculture(s) even know that these musicians exist. As activists and artists, we need to popularize those forms of musical expression that empower us rather than just entertaining us, music like Nueva Cancion, anarcho-punk, and revolutionary hip-hop. By making participatory music that challenges injustice and creates a culture of peace, radical musicians are both the drumbeat and the heartbeat of our movements for social change.

Good arguments badly made........2007-08-07

The only thing worse than a ranting polemicist is a ranting polemicist with whom you basically agree. Because much as I find much of Matthew Callahan's central thesis sound---that popular music today is vacuous and provides a relentless soundtrack to the doings of a world that's become more and more inundated by superficial crud---ultimately he comes off as tiresome and humorless as any true believer, left or right, who grasps at any straw that justifies his mission. He uses the term "anti-music" quite a bit in this book, but like it or not, one person's "anti-music" is another person's grand symphony, and he fails to make a convincing case for his term of art.

Added to this is Callahan's inability to grasp some of the strange ironies in the world of pop music. For example, The Ramones, who he briefly refers to as one of many punk bands in the vanguard of revived rebellion against the established order, contained one rock-solid liberal (Joey Ramone) and one rock-solid conservative (Johnny Ramone) who hated each other (though I gather this was for more personal reasons than political). And since the dawn of time, there have been outbreaks of teenage rebellion, and what's "healthy rebellion" and what's "hooliganism" depends on who's ox is being gored

One important point that Callahan does make well is that the venues musicians and their own ORIGINAL musical voices use for others to hear are drying up rapidly, and in too many cases it really HAS come down to the bean-counters calling the tune, literally, on most of what the public gets to hear. This is a topic where Callahan's vague discussion points give way to righteous rage about this state of affairs, and right-on, say I. Music is NOT just a commodity, it's an art form and all of its permutations deserve fair, open hearing in as many ways as possible. Anyone who says different is full of it.

So, love the spirit of the book, but I have a feeling that, although I don't know Matthew Callahan's music, it's probably more effective than his writing.

good but..........2007-07-11

As a musician, I am not in the least interested in 'The Struggle' or 'Solidarity' with anyone.

I want to get rich and impress the girls. Live fast, belch hard and ultimately pass on to the great yonder in a great big comfy house surrounded by adoring children, a loving wife and concubines.

I can't do this in the socialist utopia of Mat Callahan's dreams. If I can't do it here, it's my own problem and responsibility which I accept whole-heartedly.

When the industry is run by sharks, learn about sharks. When the industry is changing as rapidly and unpredictably as it is today, relax and just keep writing the best damn songs you can.

What I really like about the book is when he talks about the physicality of music. He's on to more than he knows there, and should toss the 'free us from Babylon' politics and chase that thread with vigour.

A valuable contribution to music & politics..........2007-03-12

The "inherent problem with music criticism" (and art in general) is taken head-on in the foreword by Boff Whaley (Chumbawumba). He notes that on one hand, there's something he doesn't like about Bruce Springsteen - a "common man" - but on the other, "There are thousands of bands and musicians I do like whose cultural contradictions, stylistic failings, political ignorance and all the rest are gently eased to one side, just out of my sight, in a place where I can enjoy the music." This despite being "a sucker for context" and political meaning. (pg xv)

Rather than become apathetic, the task at hand is to do the best possible, within the limitations of subjective trappings, in exploring the topic at hand. An insider to the business, Callahan explores this topic effectively, dealing with theoretical issues and incorporating empirical evidence into his argument. The scope ranges from the over-saturation of music product on the market to the day-to-day lifestyle of musicians; from corporate moneyed interests to the problem faced by the many poor starving artists.

Callahan approaches the topic with an obvious social perspective - akin to some sort of anarchism - which frames his argument. Of course, if you already believe that music saturating the radio and television is predominately expressive of that which is tolerable by corporate interests - exceptions notwithstanding - then you'll find this a cogent exposition. As Noam Chomsky put it, would you expect to see a sitcom of a family living under the Mohawk Valley formula (1930s, employed by James Rand, president of Remington Rand; well documented and uncontroversial, however distasteful it may seem)? Yet propaganda as a form of manipulation to combat union organization was a very real problem for those trying to secure a decent life.

Similarly, mainstream media outlets are no shortage of songs about romantic relationships, good times, loneliness, social isolation, money and socioeconomic status; in short, a pallet of emotional experience and even some tales of injustice. Yet the true voice of struggle against power and authority, concentrated in the hands of corporate and political institutions, ensures that that dissent will be kept to the margins. Callahan quotes Prince on the subject: "The consumers of the commercial products of the entertainment industry r only as cynical as the industry has deliberately made them, by dumbing down their products, by xploiting artists, by making profit-driven choices and decisions, and by providing their own kind with obscene compensations and legal impunity that r completely out of touch with the real world of ordinary people." (pg 194)

The book concludes with a provocative discussion about intellectual property rights, downloading, and the public good. Callahan draws on original, time-honored sources of insight - like Thomas Jefferson, Adam Smith and Karl Marx - in considering the production and consumption of music from a sociological perspective.

A side note: the review by "Sociologyman" misses the point completely. That this book be compared to "the National Enquirer" should tip you off that his review is more of a tantrum or diatribe with some references (instead of quotations from the actual book) than a perceptive critique. I recommend reading this book understanding that the nature of the topic at hand is especially prone to political perspective and evasive to the establishment of rule-based absolutes.

Kudos to AK Press for publishing this book.

The Trouble With This Book .......2006-04-14

The sociological study of music has been a subject of inquiry for the better part of a century. Previous sociological work has addressed some of the ways in which meaning is conveyed through music and has yielded key insights to the ways in which we understand music production and consumption as an important social activity (Adorno 1971, 1976; Becker 1951, 1974; Schutz 1951; Weber 1958). In general, the social scientific understandings of music operate on two basic assumptions, 1) music acts as a form of expression; 2) music acts as a socially significant realm of symbolic communication and studies in musical scholarship tend to lend support to these assertions (Frith 1978; Leppert and McClary 1987; Merriam 1964; Middleton 1990; Nattiez 1990; Nettl 1983). The aforementioned works in part contribute to the body of existent music discourse.

Discourse involves more than simply speaking and writing, but also the particular manner in which we talk and write (Schwalbe, Michael, Sandra Godwin, Daphne Holden, Douglas Scrock, Shealy Thompson, and Michael Wolkomir 2000). Music discourse then concerns the ways in which we create music, consume music and the ways in which we talk and write about music, each contributing to a framework to place music within, in an effort to better understand among other things the aesthetics of music (Kaemmer 1993). Research suggests that musical discourse is reflective of commonly held beliefs found in a particular culture and society (Kaemmer 1993; Merriam 1964; Negus 1999; Schudson 1989) and changes in this discourse are often understood in the variations of the replication of cultural norms (Adorno and Horkheimer 1993; Benjamin 1968).

Be warned that this book hardly contributes to music discourse and reads more like the National Enquirer. The trouble with this book is Callahan's blatant narcissism. All Callahan is doing in the book is rehashing and bastardizing previous well-written and researched (see above) work by musicologists, ethnomusicologists, and sociologists and for the most part not even giving them credit! Moreover, Callahan's theoretical perspective is weak at best. Callahan argues that the crisis with music today concerns what he refers to as "anti-music" or music that "deliberately diverts" the listens attention. Callahan flippantly attempts to define this type of music, which he so aptly dubs the "sonic equivalent of fast food." Hmmm...tasteful indeed!

The problem with "anti-music" (which is never really clearly or concisely stated) is that most any music could be defined as such (the forward is written by Boff Whalley of Chumbawamba which clearly speaks for itself). Moreover, Callahan notes that "anti-music" does not express any "authenticity" and lacks suffering, struggling, and rejoicing. Clearly there are Beatles (and a whole plethora of "authentic" artists) songs that fall outside of these three categories.

This book was awful and painful to read. I would not recommend this book to anyone.

The Trouble with Ben (Rainbow Morning Music Picture Books)

Average customer rating:

Great dialogue starter

The Trouble with Ben (Rainbow Morning Music Picture Books)
Barry Louis Polisar
Manufacturer: Rainbow Morning Music
ProductGroup: Book
Binding: Hardcover

Picture Books | Ages 4-8 | Children's Books | Subjects | Books

General | Ages 4-8 | Children's Books | Subjects | Books

General | Literature | Children's Books | Subjects | Books
ASIN: 0938663135

Book Description

A bear tries to be just like the children around him, but the results are disastrous and hilarious until he realizes that he must be true to himself.

Customer Reviews:

Great dialogue starter.......2007-10-01

My nephew is on the autism spectrum (and his name is Ben). This started great discussions with my kids about their cousin and how people can be mean and how my kids might respond. At my son's 9-year-old sleepover with his cousin and his friends, my son put one of his friends in his place after the friend made fun of his cousin. Made me proud.

TROUBLES IN A GOLDEN EYE: Starring Taylor and Brando with John Huston

Average customer rating:

Judgments in a Jaundiced Eye: A Book of Errors
Sober recounting of fascinating events

TROUBLES IN A GOLDEN EYE: Starring Taylor and Brando with John Huston
William Russo , and Jan Merlin
Manufacturer: Xlibris Corporation
ProductGroup: Book
Binding: Paperback

Entertainers | Arts & Literature | Biographies & Memoirs | Subjects | Books

General | Biographies & Memoirs | Subjects | Books

General | Music | Entertainment | Subjects | Books

General | Arts & Photography | Subjects | Books

General | Performing Arts | Arts & Photography | Subjects | Books
ASIN: 1413495648

Book Description

"There is a fort in the South where a few years ago a murder was committed. The participants of this tragedy were: two officers, a soldier, two women, a Filipino, and a horse." From the opening of REFLECTIONS IN A GOLDEN EYE "There is a movie version of a novella filmed a few years ago that was murdered by the critics. Besides the author, the participants of this travesty included a legendary director, two major Oscar-winning film stars, two notable costars, a few untried actors, and a horse." From the opening of TROUBLES IN A GOLDEN EYE

Customer Reviews:

Judgments in a Jaundiced Eye: A Book of Errors.......2007-04-27

This book contains considerable information concerning the script development, casting, filming, and reception of John Huston's movie version of Carson McCuller's Reflections in a Golden Eye. Not being filled with a sufficient number of Hollywood stories and shenanigans, it is not quite a coffee table book, but it is not exactly an academic book, either, in large part because it neglects attribution, in all but the most general way as a list of sources at the end, of the sentiments and thoughts expressed by various characters who are quoted within the text itself. So we learn, for example, that one actor who worked with director John Huston (not necessarily on this film, however) found him self-involved and sadistic, but we never learn who this actor was or what the occasion for her or his comments might have been. Such comments, by the way, seem to have been included whether or not they pertain to this film chiefly because the authors, one of whom purports to be a Professor of Literature and Film at Curry College in Massachusetts and the other an actor, seem to dislike Huston from the get go and don't want to miss any opportunity to slur his reputation. Thus his legitimate artistic concerns about the technicolor effects he wished to achieve in this movie are dismissed as mere nattering (page 102), while what is supposed to pass as critical commentary on Huston's work overall amounts to little more than snide asides about what the authors regard as Huston's disingenuous, self-serving manner of speaking masquerading as special insights into the film.

I said that one of the authors of this work "purports" to be a professor of English because, if he really is, how is one to account for the almost innumerable errors in agreement, dangling modifiers, incoherent sentences, comma splices, and other mistakes the likes of which one is used to finding in undergraduate writing? Thus we read, for instance, the following sentence: "Determined to get the visual result he wanted, the film prints took on the nature of an obsession for Huston" (102). Does this sound like nattering, by the way? And even if it is, the sentence should be written, "Determined to get the visual result he wanted, Huston became obsessed with the film prints." There are countless similarly ungrammatical sentences scattered liberally throughout the book. At the very least, these issues, and others such a doubled phrases and stuttering or stammering starts in which the original form of the sentence is maintained in company with the form the sentence finally came to have, indicate that no one has done a very careful job of proof reading (another undergraduate problem). Taken together, these errors and oversights call into question the competence of the authors, a doubt that extends to the unsourced quotations to which I referred above. Is this really what the person in question said or wrote, or has an unattended error slipped through here as well? Why, in the same vein, use the same quotation over and over, or parts of it, as these authors do, sometimes, moreover, in an attempt to establish wholly different and even contrasting attitudes about the subject of the quotation? The book, in short, is appallingly written, at times incoherent, and though it may and undoubtedly does have some value in aiding our understanding of this under rated movie by a largely under rated director, its facts and especially its critical judgments need to be regarded with suspicion until confirmed by one's own independent research.

Sober recounting of fascinating events.......2007-03-10

A book based on the making of John Huston's marvelously loopy 1967 film adaptation of Carson McCullers' "Reflections in a Golden Eye" should be a lot more fun than this. Over the years I have really come to appreciate the mix of talent and foolhardiness that converged to create this film which I regard as a mini- masterpiece of failed intentions, so I was thrilled to learn that a book existed that delved into the behind the scenes details of its production.

Authors Russo and Merlin have crammed the book with a lot of research details, quotes, interviews and little-known facts, but somewhere along the line a sense of fun was left out. Fascinating it is, engaging, I'm not so sure.

It really can't be easy to make a book about the oversized personalities of Elizabeth Taylor, Marlon Brando and John Huston joining forces to make a film about adultery, repressed homosexuality and a nutcase who cuts off her nipples with gardening shears, into a sober (sometimes dry) recounting of the ups and downs of the filmmaking process, but "Troubles in a Golden Eye" does just that. I really wish it were a more entertaining read, for there is no faulting the authors in the amount of information they have amassed about the film. Unfortunately, that may be the problem, as the book reads more like an unfurling of facts and less like a book that has a point of view. At the end one has no sense of what one is to make of it all. Does it reveal Hollywood's uncomfortable melding of art and commerce? Is it a treatise on artistic waste or ego-based folly? It's hard to come away with anything meaningful other than a vague sense of gratitude that at least
someone found the film interesting enough to write about.

God's gonna trouble the water: the essence of African American spirituality. (interview with Father Joseph Brown, SJ)(Interview): An article from: U.S. Catholic

Average customer rating:

God's gonna trouble the water: the essence of African American spirituality. (interview with Father Joseph Brown, SJ)(Interview): An article from: U.S. Catholic

Manufacturer: Claretian Publications
ProductGroup: Book
Binding: Digital

General | Philosophy | Nonfiction | Subjects | Books

Book Description

This digital document is an article from U.S. Catholic, published by Claretian Publications on November 1, 1995. The length of the article is 3356 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

From the supplier: The interview reiterates the idea of black spirituality as based on strife and struggle and is expressed through black music. The black spiritual music has expressed the need of oppressed people the world over for freedom and salvation. Thus, its universality makes it the deepest liberation theology.

Citation Details
Title: God's gonna trouble the water: the essence of African American spirituality. (interview with Father Joseph Brown, SJ)(Interview)
Publication: U.S. Catholic (Magazine/Journal)
Date: November 1, 1995
Publisher: Claretian Publications
Volume: v60 Issue: n11 Page: p14(5)

Article Type: Interview

Distributed by Thomson Gale

We'll Soon Be Done with Troubles and Trials

Average customer rating:

We'll Soon Be Done with Troubles and Trials

Manufacturer: Lillenas Music
ProductGroup: Book
Binding: Paperback
ASIN: B000VRKCQE

Book Description

The first cookbook to present the dishes of more than 120 ethnic groups now in America, The American Ethinic Cookbook for Students illustrates how those dishes have changed throughout the years. This cookbook contains more than 300 recies plus references to ethnography, food history, culture, and the history of American immigration. A bibliography at the end of each ethnic group section is included. Covering the cooking of Native American tribes, old-stock settlers, "old immigrants" from 1840-1920, and the "new immigrants," no other cookbook describes so many different ethnic groups or focuses on the American ethnic experience. Arranged alphabetically by ethnic group, each chapter consists of a brief introduction to the ethnic group, its food history and ethnogaphy, followed by recipes, with step-by-step instructions, techniques hints, and equipment information. Among the 120 ethnic groups included are: Amish-Mennonites, Arcadians, Cugans, Dutch, Cajuns, Eskimos, Hopi, Hungarians, Jamaicans, Jews, Palestinians, Serbs, Sioux, Turks, and Vietnamese.

Customer Reviews:

A great cookbook for teachers and adventurous eaters!.......2001-07-29

This is a terrific cookbook, brimming with wonderful facts about the myriad of ethnic groups that people America! Mark Zanger has rounded up not only a great collection of recipes, but also stories about the food and the culture from which it comes. I'm a new teacher with students from Puerto Rico, Mexico, Dominican Republic, and more...and I love the information provided about favorite dishes of each of these cultures that I can share with my kids! I'm already wishing for volume 2, wanting more recipes from many of these groups. I know I'll use it often.

Especially recommended to members of specialty dining clubs.......2001-06-08

Superbly designed as a reference for school and professional cooking school curriculums, Mark Zanger's The American Ethnic Cookbook For Students is ideal for the home chef as well. Virtually every ethnic background represented in the American populace is represented with this impressive collection of culinary dishes that will pleasure the palate and satisfy the appetite. The hundreds of entries are arranged alphabetically by ethnicity and range from Acadian (Cajun) to Zuni. In addition to a wealth of culinary treasures, The American Ethnic Cookbook For Students is enhanced further with appendices on "How To Knead"; "The All Stuffed Cabbage"; "They All Fried Bean Cakes"; "They All Fried Dough"; an annotated bibliography, and index of recipes by states, and a general index. The American Ethnic Cookbook For Students is especially recommended to members of specialty dining clubs whose menus celebrate ethnic cuisines.

A Fascinating, Funny and Friendly Book about Food.......2001-04-11

This is the first cookbook that I have stayed up reading in bed. I am not a student in chef school - this book is a gem for anyone interested in people. I loved finding out about other people's family history and heritage, and my own. The introductions to each ethnic group are short and informative. What makes this cookbook really special, though, is its style. The introduction is full of comments about good cooking practices that made me laugh out loud for their truth and wit. I also liked the sensetive comments and suggestions about food substitutions for people with religious and other dietary restrictions. Finally, the recipe directions are simple and clear, never omitting possible adjustments that sometimes are necessary, which experienced chefs would know, but that novices like myself would miss. There are clear illustrations and as always in this book, gentle humour that makes reading and cooking a joy. I look forward to the author's next book.

Author's Review.......2000-10-27

I was born to write this book, was fortunate enough to get the contract, and now you can share the fun! It contains a short profile and 2-6 recipes for each of 122 ethnic groups in the United States. The recipes are almost entirely verbatim from church and community cookbooks, internet exchanges, and my files of almost 30 years as a food journalist. The publisher, Oryx Press, wanted a reference book for middle-school and high school students doing assignments in social studies, modern languages, local history, US history, multicultural studies, and those "Roots" assignments that are so popular these days. But I think this book will be delightful reading for anyone interested in roots and other peoples' roots. It's also a very good cookbook -- unlike the clever inventions of chefs, these are proven family recipes, and surprisingly healthful. The book sticks to supermarket ingredients, and the recipes have a range of difficulty. Some of the recipes with a lot of steps, such as

the stack cakes of Icelandic-Americans, Scotch-Irish-Americans, and Melungeons, make good class or group projects.

Speaking of Melungeons, the book contains some small and little known ethnic groups, including rare recipes from Gypsy-Americans, Vlach-Americans, and Garifuna; ethno-religious groups like the Mormons and the Black Muslims; groups that formed in the United States, such as the Pennsylvania Dutch and the New Mexico Hispanics; the ten largest Indian tribes (and 12 smaller Native groups); and almost all immigrant groups with more than 100,000 descendants on the 1990 Census Ancestry Survey.

From the Acadians (Cajuns) to the Zuni, from Amish Church Peanut Butter Spread to Zazich and Zgance, from breakfast dishes to midnight snacks, this is a wild anthology of the many delicious ways American cooks have held onto group identities while bringing traditional dishes into American lifestyles.

You have never read a cookbook like this before, and you may never see one another like it until I finish The American Historical Cookbook for Students next year. --Mark

Average customer rating:
Our Favorite Recipes
Jerman Elementary School Students and Staff , and Jerman Elementary School Students
Manufacturer: Winters Pub
ProductGroup: Book
Binding: Paperback

Midwest | U.S. Regional | Regional & International | Cooking, Food & Wine | Subjects | Books
ASIN: 1883651174

Book Description

This cookbook features a wonderful collection of over 260 personally selected recipes - each one a special favorite of a student or staff member at Jerman Elementary School in Greensburg, Indiana. Inside you will find recipes for every occasion, including tempting appetizers, savory soups, tasty salads, delicious breads, a wide variety of main courses, scrumptious candy, delectable desserts and much, much more. You will want to try many of Our Favorite Recipes in your own home. Some of them are sure to become your favorites, too!

American History Cookbook (Cookbooks for Students)

Average customer rating:

Superb
Combines recipes from centuries of American history

American History Cookbook (Cookbooks for Students)
Mark Zanger
Manufacturer: Tandem Library
ProductGroup: Book
Binding: Unknown Binding

Popular Culture | Social Sciences | Nonfiction | Subjects | Books

Book Description

This book uses historical commentary and recipes to trace the history of American cooking from the first European contact with Native Americans to the 1970s. Each of 50 chronologically arranged topical chapters contain 500-1,000 words of general commentary followed by descriptions and clear, step-by-step instructions for 3-4 recipes. The recipes are drawn from a wide variety of historical cookbooks and other historical sources. The topics cover broad periods (e.g., Settlers and Indians, Early American Spring Meals, Health Food in Victorian America); particular events (e.g., Civil War South, The Great Depression); and particular trends or movements (e.g., Railroad Food, School Lunch, The Labor Movement). Also presented are engaging special topics such as Patriotic Cakes, Abolitionist Recipes, Communal Experiments, and Modern Health Food. The book is indexed by year of publication of recipes, states, and broad subjects.

Customer Reviews:

Superb.......2005-10-11

This cookbook is a great history cookbook. It has been meticuously researched. There are original recipes from every era in America History- Indian recipes from before the Pilgrims landed, recipes during prohibition and so on. The commentary that goes with each recipe helps to put the recipe in its historical context and provides an overview for what was going on at the time. It is interesting reading and fun to try these recipes. The directions are clear and most of the recipes do not require unusual ingredients. Additionally the end results are usually pretty good.

This is an excellent book for homeschoolers hoping to put a new twist on history and teaching about people of the past. This is also a great resources for the cooks who have every other cookbook on their shelves.

Enjoy.

Combines recipes from centuries of American history.......2003-06-17

Compiled, written and edited by Boston journalist and restaurant critic Mark H. Zanger, The American History Cookbook combines recipes from centuries of American history with historical commentary. Indexed by year of the original publication of the recipes, The American History Cookbook is sure to be a family favorite as its dishes such as "Preble Cake," "Walnut Oat Burgers," "Ground-Nut Soup" continue to be enjoyed through the generations. A unique compendium of authentic, historic American cuisine, The American History Cookbook is a superbly presented and enthusiastically recommended addition to personal, family, and community library cookbook collections!

Customer Reviews:

A must read for CLR Insight .......2004-08-29

If you havn't read this book, Buy it! I really enjoyed the style, flow, and great insight into the CLR.

Excellent but.......2004-07-23

only for advanced readers. If you are a beginner, you may get lost. I had to read a couple of times to get 100%. Excellent. Some concepts are pretty difficult to understand.

Solidify your understanding.......2004-02-25

This is not the book to dive into first if you want to really get .NET. It's actually a fairly interesting mixture of what I now consider obvious and what I never stopped to consider. If you are just starting out, I would begin with Richter's book, and then digest this one quickly afterwards. There is a significant amount of overlap, but your final understanding will be very balanced.

A dry subject made interesting.......2003-11-21

There are like a zillion CLR books out there and overall, it's not the type of subject that normally keeps you glued to it. When I got Jeffrey Richther's Microsoft .NET Framework book, I was convinced no one was going to outdo him. Well, it's a close call, but I think they are both Superb books by excellent authors. I've purchased Don's stuff before and really liked it. This book lived up to its expectations.

I think his ability to communicate some of the more obscure areas of the CLR in a very clear matter is what makes this book shine. This book can be understood by anyone because of the writer's gift for writing...but that's not to say it's a novice's book. Wherever you are in the .NET learning curve, there's something for you in this book.

If you really want to learn the CLR, this is a great place to start.

35 days of insights.......2003-11-05

In my POV this is a masterpiece!

I read both (Don Box's book and Stutz's Book)!

Stutz's book has an "inside-out POV" to expose the CLR features,
Don Box's book has an "outside-in POV" to expose the CLR features.

These two books are really cool... Any review less than 3 stars must be ignored!

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