A wide-ranging, highly positive assessment of the El Sistema movement, serving as both inspiration and manual for would-be...



In this follow-up to Tunstall’s Changing Lives (2011), which examined the growth of El Sistema in Venezuela, the authors look at the expansion of this artistic-social project around the world.

Activists and artists Tunstall and Booth traveled to 25 countries interviewing directors, teachers, students, and parents involved in more than 100 El Sistema–inspired musical and educational programs to understand how the project’s principles are working in diverse environments “from Kabul to Rio, from Bethlehem to Soweto, from Manila to Manhattan.” Acknowledging that research is not yet available to provide sufficient hard data about the program’s value, the authors give their own assessment of El Sistema’s impact, looking at its challenges and struggles as well as its successes. From its beginnings some 40 years ago in Venezuela, it reached out to children of poverty; in Europe today, it reaches out to children damaged by ethnic segregation and prejudice. The organization’s goal is to create not just musicians, but responsible citizens, and to that end, El Sistema tries to provide children of all skill levels with a musical community where they develop self-discipline, confidence, and cooperative skills. The book contains three main parts: the first is an explanation of what El Sistema is, how it started, and how it has spread; the second is a close look at each of its six core principles; the third is an overview of how it operates in different cultures, the various ways it is funded, and the networking that links its far-flung programs. Profiles and personal stories abound, and material that did not fit into the narrative flow appears throughout in boxed inserts, which is occasionally somewhat unwieldy. Appendices provide specific information on how one can become involved and lend the movement support.

A wide-ranging, highly positive assessment of the El Sistema movement, serving as both inspiration and manual for would-be social activists.

Pub Date: Sept. 13, 2016

ISBN: 978-0-393-24564-6

Page Count: 400

Publisher: Norton

Review Posted Online: June 8, 2016

Kirkus Reviews Issue: July 1, 2016

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



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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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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