A fascinating aerial view of a music scene spanning three decades.

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EUROPEAN ROCK & THE SECOND CULTURE

In this thick anthology of rock history, Patterson compiles every feature article and interview published by Eurock magazine.

Described in the foreword as a documentation of a time in history when “the limits of imagination and what was possible sonically were stretched beyond the norm,” the anthology is organized by year, starting with 1973 and ending with 2002. Fans of European rock and electronic music will value the variety of content, from interviews with Holger Czukay to collections of mini-essays by Robert-Jan Stips. Without commentary or sidebars, the reprinted musings, essays and articles about and by musicians speak for themselves. And there’s a lot of rich information to mine; the reader may discover Klaus Dinger of the German rock scene or Heinz Strobl, also known as Gandalf, and might learn a few things about the underlying philosophies and theories that contributed to new waves of sound and sonic technology. Here, composers discuss the way they probe into their inner “soulscapes” for a truer, more authentic expression of sound, and reviewers rave about the new albums and LPs of the ’80s and ’90s. One artist, Mark Shreeve, describes music as an “undemocratic art” where many solo electronic musicians are more satisfied by developing their own ideas than by collaborating with one another. The interviews dig deep into the inspirations and motivations behind different movements, albums and periods of creation. If anything, the nostalgic experience of reading through these artifacts helps one appreciate the combination of moments, innovations and risks that created each new step of a growing musical force across a continent. For those readers interested in particular research, an index in the book’s final pages organizes all artists, bands and record labels mentioned.

A fascinating aerial view of a music scene spanning three decades.

Pub Date: Feb. 27, 2007

ISBN: 978-0972309806

Page Count: 708

Publisher: CreateSpace

Review Posted Online: Feb. 12, 2013

Kirkus Reviews Issue: March 15, 2013

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MOMOFUKU MILK BAR

With this detailed, versatile cookbook, readers can finally make Momofuku Milk Bar’s inventive, decadent desserts at home, or see what they’ve been missing.

In this successor to the Momofuku cookbook, Momofuku Milk Bar’s pastry chef hands over the keys to the restaurant group’s snack-food–based treats, which have had people lining up outside the door of the Manhattan bakery since it opened. The James Beard Award–nominated Tosi spares no detail, providing origin stories for her popular cookies, pies and ice-cream flavors. The recipes are meticulously outlined, with added tips on how to experiment with their format. After “understanding how we laid out this cookbook…you will be one of us,” writes the author. Still, it’s a bit more sophisticated than the typical Betty Crocker fare. In addition to a healthy stock of pretzels, cornflakes and, of course, milk powder, some recipes require readers to have feuilletine and citric acid handy, to perfect the art of quenelling. Acolytes should invest in a scale, thanks to Tosi’s preference of grams (“freedom measurements,” as the friendlier cups and spoons are called, are provided, but heavily frowned upon)—though it’s hard to be too pretentious when one of your main ingredients is Fruity Pebbles. A refreshing, youthful cookbook that will have readers happily indulging in a rising pastry-chef star’s widely appealing treats.    

 

Pub Date: Oct. 25, 2011

ISBN: 978-0-307-72049-8

Page Count: 256

Publisher: Clarkson Potter

Review Posted Online: Jan. 13, 2012

Kirkus Reviews Issue: Oct. 15, 2011

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Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

SEVERAL SHORT SENTENCES ABOUT WRITING

New York Times columnist and editorial board member delivers a slim book for aspiring writers, offering saws and sense, wisdom and waggery, biases and biting sarcasm.

Klinkenborg (Timothy; or, Notes of an Abject Reptile, 2006), who’s taught for decades, endeavors to keep things simple in his prose, and he urges other writers to do the same. (Note: He despises abuses of the word as, as he continually reminds readers.) In the early sections, the author ignores traditional paragraphing so that the text resembles a long free-verse poem. He urges readers to use short, clear sentences and to make sure each one is healthy before moving on; notes that it’s acceptable to start sentences with and and but; sees benefits in diagramming sentences; stresses that all writing is revision; periodically blasts the formulaic writing that many (most?) students learn in school; argues that knowing where you’re headed before you begin might be good for a vacation, but not for a piece of writing; and believes that writers must trust readers more, and trust themselves. Most of Klinkenborg’s advice is neither radical nor especially profound (“Turn to the poets. / Learn from them”), and the text suffers from a corrosive fallacy: that if his strategies work for him they will work for all. The final fifth of the text includes some passages from writers he admires (McPhee, Oates, Cheever) and some of his students’ awkward sentences, which he treats analytically but sometimes with a surprising sarcasm that veers near meanness. He includes examples of students’ dangling modifiers, malapropisms, errors of pronoun agreement, wordiness and other mistakes.

Analyzing his craft, a careful craftsman urges with Thoreauvian conviction that writers should simplify, simplify, simplify.

Pub Date: Aug. 7, 2012

ISBN: 978-0-307-26634-7

Page Count: 224

Publisher: Knopf

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: June 15, 2012

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