Although brief, Hoffman describes the ingenuity and resourcefulness of the Rhodesians in combating the counterinsurgencies. Although the Rhodesians lost the political war they did a superb job in containing the insurgency. Rhodesia--crippled by the lack of white men--was able to introduce innovative techniques to counter the insurgencies. These innovative techniques are what Hoffman highlights and recommends that Armies intreseted in low intensity conflicts (LIC) adopt. Rhodesia was able to beat the insurgency by denying it two prerequisites of guerilla warfare--freedom of mobility and a freindly population. The Rhodesians, through their Special Air Service--modeled afer the British model--and the Rhodesian Light Infantry, organized small units that could conduct quick lightning strikes. Hoffman points out how public relations and Selous Scotts, a special eight man unit made up of former "turned" rebels, the Rhodesians were able to track down insurgents. Of special note in Hoffman's study, is the appendicies, which offer an insight into mine countermeseasures adopted by the Rhodesians, and a chornology of special operations conducted thourout the war. The mine segment is particularly helpful for African nations dealing with the pleathora of mines left over after various wars.

This is a textbook for how to fight insurgents, full of practical information, it discusses how a tiny army of an embargoed and isolated country effectively defeated a long lasting marxist insurgent movement through innovation and adaptable tactics.

While the book (actually more of a booklet) is a low budget presnetation ( a couple of drawings, a few maps) the value of the information presented is well worth the price. Its simply one of the best sources of information on the market about this topic and will prove invaluable to anyone researching COIN or LIC.

I've been using Mr. Arnold's approach to ear training for about a month now. I have found it very challenging but on the same hand very rewarding. The main thing I have come away with from Mr. Arnold's Ear Training method is how damaging interval based ear training can be to your musical development. He believes that you must first understand how to hear the sound of all 12 notes against a key. I was a little unsure whether this all made sense but after working with this method I am seeing real progress. I'm currently using a combination of the (Ear Training One Note) and the Fanatic's Guide and I find it to be a winning combination. If you are serious about developing your ears like I am, I'd highly recommend checking this method out and starting off on the right path.

I bought this book about 6 months ago. I have only been working on two of the exercises so far but even that has really turned my head around about how to hear sound. I basically have found that this book has started to change my perception of how to identify sound. Though I haven't mastered the ideas presented in this book I am starting to realize that you can indeed memorize the sound of each note within a key and use this as a method to identify pitches. My overall recommendation is not to get this book if you don't have a lot of dedication to practicing. I have found the exercises to very difficult and quite honestly was about to give up a few times. I suppose each person who might buy this book is coming from a different place so my comments may not pertain to everyone. For me, I just couldn't latch onto a method of ear training that worked for me. This method is no "walk in park" but it is working and that's what matters to me.

Mr. Arnold offers practical advice and information to the contemporary music student. His several books present methods for learning music in an efficient and enjoyable manner. The methods were developed and refined during his many years of teaching, and are well informed by his professional associations with many of the world's finest musicians.

I have taught music theory and aural comprehension to well over 1000 music students at New York University. These future performers and composers hail from a wide variety of musical backgrounds - classical, jazz, rock, music technology, and music theater - and I have instructed them in ear-training techniques that are similar in methodology to Mr. Arnold's. These techniques have caused dramatic improvement in almost all students that have applied themselves and allotted sufficient time for practice.

In the 10 years of our acquaintance, Bruce Arnold has consistently impressed me with his abilities as a performer, composer, and educator. I share his philosophy of ear-training instruction and feel that he has realized it in a highly functional and useful manner with his books and CDs. For these reasons, I especially recommend his materials to my students, as I recommend them to anyone with the desire to expend effective hard work in the pursuit of their musical aspirations.

Klaus Sinfelt, Assistant Director of Music Theory, Department of Music and Performing Arts Professions, New York University

It appears that like other reviewers I am in the midst of using this book to improve my "ear" as I write this review. I've had a month to work with it, mostly for about 5-10 minutes a day, because it is a rather intense workout. I like Arnold's approach: that rather than memorize every single tone possible (good lord!) and rather than relying on the "interval" method (which is incredibly deceptive), we should learn notes in relation to the whole, so that we can play within/comprehend that whole--isn't that the point, after all? Kudos to Arnold for going to some length to explain this in the book, and even for including commonly asked questions, complaints, and reports of progressive. It helps make sense of his approach, and his explanations are what I'd consider accessible to students at any level. Three discs are included with a slim booklet; that is quite nice. Each disc has 99 tracks, of course only seconds long but that's all that's required. The music and pause time before answers is shorter in each of the three discs. The booklet includes written answers as well.

The method seems helpful, and it is set up quite nicely. ... Was this a needless expense? I guess the explanatory essay might be worth it, but it mostly serves as a reassuring authority of the "relation" principle--for example, no matter what key you are in, or how many octaves apart the tone is, the root note is the root note; the seventh is the seventh; the flat sixth is the...you get the idea. The cds might be worth it for convienience's sake alone, perhaps. (By the way make sure your player has shuffle, or you'll memorize the order of answers. Also, the exercises are with piano, not guitar. I find this no problem, but you might.) Another annoyance is Arnold's acceptance of the Key of C paradigm that pervades music instruction. All three cds use C. Why not use different keys on each disc? Just to prove your point? It should not make a difference if the premise is right, but it would be refreshing to the student and increase her or his confidence.

Take note this is a frustrating set. (But this is coming from someone who has never been able to play anything "by ear".) The learning process is intense for the "ear-challenged" such as myself, but this seems like it'd work better than the other methods, or by random luck or wishful thinking. You are basically asked to proceed by intuition, or some likewise indescribable way of learning. A serious trial by fire. If you need a "how do I do it" guide this is not the place to come. It's more like learning a language by being surrounded by it for a long time, and *not* by someone handing you a vocab list and rules for turning the present tense into the past: you'll learn it, and you might even be better at it because it's *in* you, so to speak, rather than *on* you. But it is an intense and probably prolonged experience.

I hope this helps you decide whether this is for you, and if it is worth the price. I haven't noticed any improvement in myself that I am not convinced isn't just luck; but it could be so subtle I don't see it yet. I do imagine it will help. Time will tell.

Mr Arnold's approach is different from conventional ear training methods which focuses on hearing the intervals.

His approach focuses on identifing (naming) pitches you hear with reference to a "key center" that you perceive when you listen to a short musical phrase, a motif or a cadence, etc.

This helps especially during live gigs which require my responses to other musicians's playing.

If you don't really want to learn something, this will be useless to you. Mr. Arnold points out that this is hard. I've been working with the method for about 2 weeks now, and I'm here to tell you that it is DRIVING ME CRAZY. But the more I work with it, the more sense it makes, and the more it is rearranging my brain.
I have worked on eartraining for years, in college as a music major, and after college, ongoing for over 10 years. I could never get the traction I wanted, no matter how I worked. And really, I couldn't tell that anyone else had either.
Turns out that I had been trained in every counter-productive method Mr. Arnold mentions in his work. A lot of horrible habits, given to me by people I trusted...
Those habits are really, REALLY hard to break. But I now believe that it can be done. And after so much sweat over so much time, I'm now certain that the level of hearing I've wanted for so long really is possible. It's really HARD, and I expect to be working on this for years. But, hey... I also expect to be a musician until I die, so it's very much worth the work to do it right.
(One last note: when I first read Mr. Arnold's writing on this method I nearly cried. It was like he'd looked at everything I was doing wrong and all the time I'd wasted and said, very directly, "You should stop that. And you should grit your teeth and do this, if you really want to fix anything." Honestly, the man had my number. Maybe he has yours. You got the guts?)

I recommend this book for anyone trying to get their odd time thing together. Each example has quite hard rhythms moving through different time signatures. The Audio examples from the Muse-eek website have been great too expecially when you crank up the tempo. Great workout for drummers.

If your serious this book is too

This book is an excellent source for understanding Advertising from A to Z. This book teaches all the necessary elements for developing a successful advertising campaign, creating the plansbook, and then winning the client's business. It gives great examples, it easy to read, as well as, thought provoking. It is truly a great guide to Marketing Commuincation Plans. It is used in Clark Atlanta's MBA Program for Advertising and Promotion. It's definitely "On Point!"

Juvenile Delinquency is a power packed book filled with a wealth of information and statistics dealing with juveniles and their deviant behavior. Arnold Binder, Dickson Bruce and Gilbert Geis touch on some very perplexing issues and attempt to present the facts for all to scrutinize. Does race play a major role in determining a predisposition toward criminality? Is socioeconomic status a primary factor in identifying those destined to commit crimes? These and many more issues are discussed at length in a detailed look at juvenile deviance. With the ever increasing efforts to combat crime and pinpoint its root causes, more scholars and criminal justice professionals are looking for answers to the simple and yet complex question of why people commit crimes. This publication does an exceptional job at presenting a multitude of possible reasons for criminal behavior and contributes some startling statistics to back them up. Binder also addresses some of the popular but spurious correlations the media too often promotes as being fact. For the corrections professional, this book is a great addition to their repertoire of reference material. It provides added insight into many motivating factors behind juvenile deviance and does so by presenting the information and allowing the reader to form his or her own opinion. Binder points out the three principal methods used in collecting data on juvenile deviance and they include the Uniform Crime Report (UCR), the National Crime Victimization Survey (NCVS) and self-report studies. Binder discusses at length these three methods and details both the highlights and hazards of relying strictly on one method over the other. As an example: ...UCR data indicate females run away more than males, but that males violate curfew laws more than two to one over females. Self-report results, on the other hand, show no greater tendency on the part of females to run away. There is thought that the difference between UCR and self-report results stems from a greater tendency for the police to arrest runaway females. Binder also discuss at length the myriad of theories postulated by the numerous criminal justice professionals and points out that theories abound and are as numerous as those promoting them. Binder cautions that the use of any one theory in an attempt to put all into one neat little box should be viewed with a skeptical eye. From a historical prospective, Juvenile Delinquency provides an excellent examination of how we as a society have dealt with juvenile crime beginning with the ancient world. This is of significance in understanding how a separate system of justice developed specifically designed to handle youthful offenders. The New York house of refuge is an example of early attempts to "...save juvenile delinquents from the influences that all too easily led to crime." In the early stages, young people who were convicted of crimes or vagrancy were accepted into these facilities but soon orphans, abandoned children and those deemed unmanageable by their parents were also made wards of the courts and incarcerated in houses of refuge. Binder has compiled superb historical and up-to-date information on juvenile deviance. His discussions are well thought out with a comprehensive breakdown of the system and the multitude of theories behind this subject. With that said, one must understand this is a book suited well for the classroom environment at the university level and it should be on every must- read list for all freshmen criminal justice and sociology majors. The length of this publication and its classic textbook look make it unlikely to be read by those outside the classroom but that is their loss. Juvenile Delinquency is an excellent publication that explores every possible motive and explanation and presents the information in a comprehensive and insightful manner.

I have been using Arnold's ear training books with satisfaction. I recently decided to start on time-training with 'The big metronome'. Unfortunately, the courses seem to be written for a teacher-student set up, with a teacher experienced in these methods. I have read and reread the introduction and instructions, but I haven't a clue how to proceed. The ear training courses are fine - one simply listens and lets the information sink in. But what is one supposed to do with the time exercises? Listen passively, or play/sing along, or what? Arnold teaches his techniques in a University setting, and that is the setting for which this course is composed. The instructions should be written in a simple, step by step format for the guy who does the course at home alone. I shall submit another review on the content, once I have been able to access it.

This book is awesome! I would'nt recommend it to beginning students unless they are pretty dedicated. For me, (been playing for 10 years) it has been great. To develop your own internal sense of time has helped me already and I've only been using it for a month. Probably will take me much longer to go through all the exercises. Some of the exercises may take me years though they are pretty hard. If your tired of the constant tick of a metronome this book offers you way to slowly wean yourself away from that crutch.

Soon after I read this book, I tossed it out along with my retro polyester pants and orange creepers. The concept of the novel is a clever one and it starts out as being cute and funny. Even as a gay male, I could identify with Phoebe and a lot of her unwise choices in men.

Then somewhere along the line, the book loses what little bit of charm it has and suddenly you're finding yourself not liking Phoebe that much. As each man revolves his way through her life, you begin to dislike her and her choices more and more. Some of the boyfriends listed aren't even boyfriends but rather fantasy characters, penpals and in the case of Arnold Allen (the only Black guy who stereotypically appears on her list) a criminal. By the end of the novel you're thinking that she deserves everything that has happened to her. Some guys aren't good enough, others are too good and why doesn't she have any friends? One word for you Phoebe: THERAPY!!

At first I thought this was going to be a Sheila Levine for the new millenium. Whereas Sheila's self-depreciating humor and poor choices in men endeared you to her, Phoebe's self depreciating humor had you hoping she would grab a bottle of sleeping pills and end it all. I guess Mrs. Rosenfeld is a fairly talented writer as she was able to evoke such dislike for her protagonist from me, but overall this novel went absolutely nowhere and was a complete waste of my time. I liked Bridget Jones better and that's a stretch. I wouldn't really recommend this to book anyone. If you can find a copy, check out Gail Parent's 'Sheila Levine is Dead and Living in New York'. Although it's well over trhity years old now, it still maintains a crisp, hip, cutting edge feel to it unsurpassed by any other writer writing in the same vein as What She Saw.

Wherein we observe the development of a girl from 5th grade to about age 27, a girl that we eventually realize is quite attractive, though she has the persistent belief that she's a Dawn Weiner. It could make a great film. While I think Lucinda Rosenfeld has a good ear for dialogue and gives us painfully well-executed visuals, to the point where I felt I had been there myself (because, what young self-involved American female hasn't?) I thought the writing tired and too desperately-trying-to-be-trendy. It's the kind of book that would've made an impression about 10-15 years ago, but now the market is just too saturated, and let's face it - descriptive language a la Confederacy of Dunces has been immitated ad nauseum. Judging by the age of the character, Rosenfeld probably did write like this 10 years ago (in college), so it's too bad she didn't try to get it published then. Now, though, I think she'd be great writing for current female TV characters -- could give them something interesting for us to watch!

dreadful and fun is the conundrum i'm put in when i begin to go back through the quite thick entanglement of the boys, boys, and men i've dated, and in the book "what she saw", i was given the chance to delve into someone else's mess.

each chapter takes a look at a different boy/man the main character dated/went with/screwed. a fun idea, but there's such a distance on the page... it's difficult to understand her convictions. i wanted to laugh, and groan in aggreeance, but was left slightly unsympathetic and befuddled. the book begs to be written in the first person, but for some bizarre-o reason lucinda rosenfeld gave us a third person story.

after reading the first chapter i thought it was clunky, and decided to shut it for good, but i was at work, with nothing elese to read, so i kept going, and somehow fell in. i still didn't really like it, but felt hooked nonetheless. weird.

i gave it four stars due to the 'it hooked me factor;' what does it all mean? i suppose it's just as confusing as what she really did see in all of those guys.

I've only read three books on blackjack, so I am no expert on gambling books. HOWEVER......

If you want a book that reads like a transcript of a gambler telling stories over drinks in a bar, name dropping old Vegas stars, talking about the big scores and the big losses, spouting opinions on lotteries and horses, and bragging about nailing hookers, by all means this is your book.

But if you're looking for advice on winning blackjack, look elsewhere.

The subtitle is "how to beat blackjack as a way of life." This is very misleading. There is good advice, mind you, but it's obvious and not worth filling a book. The advice is "quit winners." In any gambling situation, a player will go up and down. Quit when you're up. This is good advice, and it's what I already practice. But I didn't need to buy this book to tell me this.

As this is marketed as a book on playing blackjack, I'd think that instead of giving us the stats on high roller slot machines, or recounting keno stories, or any of the other endless off topic rants, there might be more about money management at the actual table. Showing me a "scorecard" listings wins at various casinos doesn't tell me how those positive numbers got there.

Congrats to Mr Levy on a nice brag book, admittedly getting publishing justification after two really good streaks. But by that standard, I guess I could write my own, having two streaks in a row.

I found much more helpful material for a casual player in Jerry Patterson's Blackjack: A Winner's Handbook. If you're a frequent player, you won't even take Levy's book seriously.