A joke book for kids based on the Star Wars movies.
This joke book is recommended for children 10 and older, but it could easily appeal to and be appropriate for children as young as 6 or 7. It comprises information about George Lucas and more than a dozen chapters of short jokes, all based on characters, places or groups (the Jedi or Ewoks, for example) popularized by Lucas’ epic series. The humor ranges widely and calls to mind styles and tropes even new readers will already know, and it capitalizes on the rich vein of Princess Leia, Darth Vader, Chewy and Yoda trivia. In some cases, the jests are old ones with a new twist: “Did you hear that Jabba is on a seafood diet? He sees food, he eats it.” Others use similar setups: “Yoda is so old that....” The humor often relies on puns, and when not referencing something related directly to the movies, it draws on stars and space: “What is Jar Jar’s favorite candy? Milky Way.” Messy sketches introduce each chapter, adding to the whimsical, silly feeling of the book. As should be expected, there are highs and lows among the yuks. There are some groaners, and some puns are amusing, especially when drawing on references young fans will understand. One example: “Why was Luke so happy at the magnet factory? He could feel the force.” While the quality isn’t consistent, there are plenty of LOL moments, and it could be a fun book to share with kids.
Works well enough to make fans happy and provide a few laughs.
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").
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)