A helpful, systematic approach to developing a discriminating palate.

TASTE WHAT YOU'RE MISSING

THE PASSIONATE EATER'S GUIDE TO WHY GOOD FOOD TASTES GOOD

A thorough investigation of the sensation of taste.

As a professional food developer, Stuckey has to understand the how and why of taste in order to create new palate-pleasing food products. Here she leads readers into the science of what happens to food once it reaches our mouths, with taste being “only about twenty percent of the story. Food that tastes good also looks good, smells good, feels good, and sounds good.” Using examples from her experiences at home, in restaurants and at work, Stuckey analyzes the “five building blocks of taste, “four [of which] are familiar to most people: sweet, sour, salty, and bitter” The fifth, umami, refers to the perception of a savory or meaty taste that makes soups and broths full-bodied. Complex evaluations give readers a precise breakdown of each of these five types and how one sensation directly affects the other. Stuckey provides technical but readable discussions of such topics as orthonasal olfaction (nose-smelling taste) versus retronasal olfaction (mouth-smelling taste). To aid in understanding this specialized information, the author supplies readers with many flavor-related exercises designed to increase responsiveness to various foods. These include a simple test to determine the number of taste buds on one’s tongue, eating blindfolded or eating with cotton balls stuffed into the nose to block the sensation of smell. Seeking to launch a “culture of taste appreciation,” Stuckey writes that taste is “using all five of our senses to find the hidden joy in food and take the full pleasure out of every bite.”

A helpful, systematic approach to developing a discriminating palate.

Pub Date: March 13, 2012

ISBN: 978-1-4391-9073-9

Page Count: 432

Publisher: Free Press

Review Posted Online: Jan. 9, 2012

Kirkus Reviews Issue: Jan. 15, 2012

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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