y acertadas, las personas vamos muriendo por dentro

DE LA QUE ESTE LIBRO HACE UN ARTE,
ES EL NUTRIENYTE MÁS PODEROSO QUE EXISTE...
EL QUE NOS PUEDE CONVERTIR DE MALVADOS EN BONDADOSOS
Y DE PERDEDORES EN GANADORES
Con unas cuantas dosis al año, tienes suficiente combustible para conquistar al mundo

caresses are more important than food, water or money !

If no one strokes your heart, you wither slowly and end loosing all interest for life...

And this Book is THE ESENTIAL MANUAL OF EMOTIONAL PAMPERING !

TIENE ALCANCES DESCONOCIDOS...
Es una ciencia que, con este libro, queda al alcance de todos...

de lo que expone este libro, estás enterado de que
LAS YERBAS CURAN Y MATAN..
Hay que andarse con cuidado

vivido en Oaxaca, entre los brujos y las yerberas...
De ahi, sus conocimientos amplisimos para curar con yerbas !
SE LAS SABE TODAS !!

Oh to find that original true love, not once but twice is a gift only the Gods can bestow upon us. Ms. Wagner made this gift feel so right. This book was hard to put down. The romance, mystery, and her ability to capture the personalities of each member of her Twice upon a Time cast made you feel as though you knew each one. Well worth reading for all romance fans.

For a first time author, Jennifer Wagner has surpassed many a veteran author. Her talent I'm sure has a base of hard work, but also a gift, one to be nurtured, one to be treasured. This book, I am sure, is just the first of many. The story telling skills of this newest master of Romance will one day earn her the title of 'The Queen of Romance".

This story kept me reading straight through. The characters are delightful, and the plot was suspenseful. I'm a real fan of Romance, and this book really captures the heart. I hope there will be a sequel. I would really love to see what happens to many of the people Miss Wagner has written about. It's a winner!!

I can't believe this is the author's first book! I picked up Twice Upon A Time after my husband fell asleep and two hours later he found me still reading!! Fast, fast pace, great storyline. I'm going to hunt down this author's webpage and find out more about her. She's going to have a lot of spots on my keeper shelf! Kathy :)

in elementary school we actually watched this as a movie too. this was one of the most profound books that i have ever read. it would make me sob! but it is such a great book to encourage compassion and remind "tough" children that it is ok to be tender and to show that you love something...

I was a 4th grader in a lot of trouble and detached from school. Our librarian gave this book to me and I read it hundreds of times that year and the next. I rememberd it only recently. I now work as an international photojournalist and assume that Gordon Parks images kept me intersted in literacy as a child and had a profound impact on the course of my current career. This book was to me what the kitten was to J.T.- a saviour.

I have used J.T. for years to reach reluctant readers. The pictures and dialogue give an easy context for lower readers to decode and comprehend the text. J.T. is a wonderful character that anyone can relate to. The copies I have are falling apart from much use and love.

I was in elementary and junior high school when the legendary first-ever recording of Wagner's Ring Cycle was being set down and released. I did not get interested in opera until junior high and did not have access to the recordings until later, but in the meantime I did find and read this fascinating book, and have read it several times in the meantime.

Culshaw begins by giving some background: the earlier attempts on the part of Decca/London to record and issue a Ring the "easy" way (by going to Bayreuth and taking one down, which they tried in both 1951 and 1955); their ultimately successful attempt to snag Kirsten Flagstad, who had retired from recording, into the Rheingold cast; and the early attempts at creating stereo productions for the phonograph which finally jelled when they got around to recording Das Rheingold.

There are many, many fascinating stories within the main fabric of the tale, and it would take a review much longer than 1,000 words to even mention all of them. For example, although the reasons had to do mostly with the technical quality of the recording, this first-ever Das Rheingold captured the imagination of the opera-buying public in a way that nobody could have imagined or expected, despite the doubts of the competition and the lack of interest on the part of the Wagner cognoscenti. Another story is that of Kirsten Flagstad's tragically deteriorating health which ultimately prevented her from participating in any of the other operas, despite the glimmers of hope that kept flickering and the constantly changing plans Decca/London made to accommodate her. The story of the young unknown tenor who was supposed to be the ideal Siegfried except that he was unwilling to take the time to learn the role is a study in frustration. On the lighter side are the tale of the horse the producers brought into the studio to surprise Nilsson during the recording of Gotterdammerung, and the story of Regine Crespin's kicking James King in the shin during the recording of the Walkure Act I love duet.

Culshaw has a definite way with words and thus has the ability to allow the reader to feel the tension, time pressures and catharses involved in the recording sessions. One example of this is his description of Decca/London's attempt to record an acceptable Rheingold prelude--in the middle of the night yet!--given that the first half of the piece could not be edited because of the way it is written, and so had to be recorded without mistake; the tension here is almost palpable. It is in areas such as this where Culshaw is at his strongest.

Unfortunately, sometimes Culshaw fails to understand the power of his pen and as a result the book also has its weak and even offensive areas, usually centered around the author's own prejudices. For example, he dismisses the 1951 Bayreuth Gotterdammerung, which Decca/London almost issued but did not, as an inferior performance except for the Brunnhilde and the Hagen. However, this performance was finally issued a year or two ago on the Testament label and in the opinion of many immediately jumped to near the top of the list of contenders for best-ever recording of the work. What could Culshaw have been thinking when he wrote his cavalier dismissal of the recording? And if the Gotterdammerung *had* been originally issued rather than the legendary Parsifal from the same year, would Culshaw then have said that the Parsifal was no good? Given a glaring error in judgment such as this one, I have difficulty trusting Culshaw's objectivity in other areas. And even given his bias in favor of the German repertoire as opposed to the Italian, his words to the effect that no *real* conductor has ever shown any interest in Bellini are at best unprofessional if indeed not irresponsible, as Serafin and Berntein provided contemporary evidence to the contrary, while others such as Levine would come along later to prove Culshaw wrong yet again.

Another drawback to the book is that Culshaw can be incredibly condescending. The conclusion to the tale about the man who owned a rare steerhorn and came to Vienna during the Walkure sessions to help Decca/London get the relevant passages on tape is not only condescending but just plain mean. Likewise Culshaw makes the comment that he wouldn't expect anybody who hasn't been exposed to the pressures involved in recording music such as the Ring to understand the necessity of briefly lowering the temperature with the horse episode; such a comment assumes that Culshaw is writing to people who are unsophisticated if not worse.

These drawbacks aside, however, Ring Resounding is really an excellent read, and gives a wonderful idea of the joys and struggles involved in recording an opera. I'm sorry to see that it has gone out of print and hope to see it back soon. I want to edit if it does return, though...

This book came as an insert into the Package of the Ring(Solti). Purchased the set back in 1976, at Westwood/LA'sTower Records. Clerk said,"Wanna see people's heads turn?" And cranked up the concludng portion of the Immola-tion scene for me...on the PA......THAT decided for me notjust which version of the Ringto buy, but just how beautifu-lly and faithfully this recor-ding really IS to Wagner's very precise original direc-tions...I take it out every sooften to remind myself of just how much we opera-lovers oweto the pioneering work doneby Mr. Culshaw and his team ofauditory/sound engineers forEMI/London Recordings.Indeed, I daresay it is due invery large part to their pain-staking work that full-length recordings of Bach, Mozart,Verdi, for that matter, ANYopera, oratorio, or longer-length piece, could have beenrecorded, let alone attempted,at all, or have sold enoughcopies to justify furtherpioneering works.I am in debt, as are we all, to this pioneer in music!

It's an unexpected thing to say about a backstage book (not a genre I'm fond of) but this is an inspiring book about artistic collaboration, and a dream fulfilled.

The recording it celebrates can now be seen to be not without its flaws. For example it's tragic that Hotter's vast voice had gone "woofy" by the time they recorded Walku:re, the last of the cycle to be recorded. Despite the awesome conviction and power of Hotter's vocal acting, he wasn't beautiful, and the transformed Wotan at the end of Act III has to be beautiful. And it's a shame that they replaced Paul Kuen's excellent, musical, Mime with Gerhard Stolze's over-the-top cackling, which has not worn well with time.

But the Culshaw book helps put these flaws (and I can't bring myself really to consider Hotter a flaw, on balance) into perspective against the grandeur of the achievement - which, though complete Ring cycles are now common, remains unchallenged.

Culshaw himself is a fine, clear and sometimes amusing writer and, it seems, a likeably modest and decent man. For example he kindly withholds the name of the tenor, a potential superstar as Siegfried, who nearly killed the project by refusing to study his role. It's now known that that was Ernst Kozub, by the way, and you can consider Culshaw's claims about the magnificence of his voice by listening to his Erik on the Klemperer "Fliegende Holla:nder". He must be kicking himself to this very day. On the other hand, the story of Wolfgang Windgassen's artistic integrity and decency in stepping in and singing to save the recording, even while his agent was still working out the contracts, only adds lustre to the excellence of his performance. And if it were in a movie ("The hell with this; I'm going in to sing") no-one would believe it.

Kirsten Flagstad appears as perhaps the most loveable soprano, or singer of any kind, I have ever heard of, and the story of her death still, when I read it again, brings tears to my eyes. Culshaw's considerably more guarded treatment of Birgit Nilsson, undoubtedly a fine artist, tells a very different story...

It's also inspiring to read about record company management who were not solely motivated by the bottom line. Perhaps nowadays that would see the book classified as science fiction. :)

Good book. The best of it's kind. Recommended. (And they should re-print it.)

Laon

I commend the author on his works. I have purchased many small books on Boids but so far this is the best. Most books overload their pages with pictures and unuseful information, but this author knew what he was doing. A great book for novice and intermediate boa lovers, and would recommend it over and over again. Thanks for a great book.

I have read some books about boas, and this one is very usefull when it comes to talk about diseases, even when the chapter about disease is short, it's clear and concise. It also talks about genetics, a little confusing for someone new in breeding but usefull too. I consider this book is for begginers and intermediate boa owners.

This has become one of my favorite snake books. It has really solid information for the size and price. The pictures are great, but it's the little details that make it unusual, things I never would have thought to do or not do.

This book and another Kane book "Night Winds" contain some of the best short stories and novellas ever written in the fantasy form in my opinion. I've managed to collect most of the out of print Kane books over the years and wouldn't sell for just about any price. Kane is a far better example of the "anti-hero" than Michael Moorcocks Elric that there really isn't any comparison. This particular book has 3 fantastic stories, and though I agree with the prior reviewers that the 2nd is probably the best, I also rate the 1st and 3rd among my all time favorite fantasy short stories. All-in-all, this is required reading for any fan of the fantasy genre.

All 3 novellas this book are excellent reading. The first, about a werewolf's attack in a snowbound castle/hunting lodge is the closest I have ever seen any fantasy author get to true mystery tales of Sherlock Holmes/Arthur Conan Doyle calibre. Next is an action-filled bounty hunt where "good" confronts evil. A moral study and a ripping sword and sorcery yarn woven into a mesmermizing tapestry. The last is a chilling tale of lust and vampiric possession. The emptiness this tale leaves behind is trademark Karl Edward Wagner ("Never Dessylyn" and "Last Song of Valdese" are other fine examples (Night Winds)). After years of re-reading these tales and discussing them with friends, I still cannot decide upon a favourite. Wagner's skill in describing action realistically, mystery tantalizingly and weird occult phenomena in a way that tingles are showcased in each story of this book, his crowning masterpiece of dark fantasy. If you can get your hands on a copy, pay any price. You'll enjoy reading them many times. Get the other KEW titles first (Darkness Weaves, Dark Crusade, Bloodstone and Night Winds) and save Death Angel's Shadow for the grand finale. You'll be wishing there were more stuff that was even close to this good...

"Cold Light" is one of the best stories I've ever read. I've been looking for years to get another copy of this book simply to read that story again. While the other two stories in the book are very good, it is "Cold Light" which makes this a book to keep in your collection.

This penetrating essay on Wagner's works is deceptively brief. Magee's analysis is brilliant and right on target. He manages to say in a few well chosen words what other books ramble on about for pages. This book is well written, authoritative, and masterful. I can't recommend it highly enough.

The kind of book you buy several of to give away to friends. Short, to-the-point, lucid, wide-ranging. The author has a readable style and, well, knows what he's talking about. Good job.

Despite the fact that this book was first published in 1969, it is so well written in such reasonable language that it still stands as one of the most cogent introductions to the genius of Richard Wagner. The bookstore shelves are full of volumes on the man many consider one of the most important composers ever. But many of those books are biased by quirks of each writer who preach either a love-him-or-hate-him agenda. Magee goes to the source, addressing the writings of the composer during his musical hiatus between Lohengrin and the Ring of the Niebelungen, a period (1848 - 1851) when Wagner withdrew into the works of the great German philosophers and gradually formed his world view of Opera as Drama, or, a religous happening - quite a different stance from the 'Opera as Entertainment' that was the popular consensus of the time. Magee offers translations of Wagner's words that clarify the messages that so often are lost in the verbiage that Wagner labored as he responded to the importance of mythology as a universal language, to Shakespeare as the perfect man of words, to the music of Beethoven as the writer of music that ALMOST didn't need poetry ( even though he granted that Beethoven's 9th Symphony which includes poetry was the gold standard of his time and indeed opened all the Bayreuth Festivals with that Beethoven work before presenting his own operas), and to the writings of Karl Marx, et al. Magee's essays include notes on the claims of AntiSemitism, on the influence of Wagner on the other artists of his time and after his time, and even on performance standards of his works. All this, in a book just over 100 pages in length! An invaluable tool for those who want to better understand why Wagner's music continues today to cause such profound emotional responses. Beautifully written and informative.

Very soothing voice, tone and message. She really helps the hurt and I am glad I made this purchase. I will share it with others and recommend it. I only wish there was a bit more insight into the religious side of loss - something that I could know was of God. Still - excellent.

For those who have ever loved and lost a beloved, this guide is a great source of comfort. Sensitive and heartwarming, a wonderful gift when words just are not appropriate. The unconditional love of a pet is such a source of joy, but when we lose them, the heartache can be unbearable. Having been there, I understand how paralyzing grief can be. Arlene Millman...

Purchasing "Legacies of Love" was perhaps one of the best things I could have done to help me through my grief after losing my precious dog on 3/7/02. It has only been a few weeks, and I listen to Teresa's soothing voice and comforting words every day to get through this "coping" period. Her validation that deep grieving over pet loss is undervalued by many on-lookers and "supporters", but completely normal to those of us grieving, brought a sense of peace during a time when there are so many emotions. Those who have lost their companion(s) and don't know how they will go on, will find Teresa's tapes a tremendous source of comfort and graceful inspiration. In honor of my beloved Pupster, I have purchased two additional sets of "Legacies of Love" to donate to my veterinarian's office in the hope that someone facing deep grief after losing their animal will find as much comfort in her words and wisdom as I have.

This is a very absorbing book about the giant airliners that fly today's skies, covering them from their inception, to the drawing board, last minute changes, technical information, how new ideas and technologies gained ground and their service with the airlines. The chapters are not organised by aircraft but by topic such as Stretching and Shrinking, the Operator's Role in influencing the final design, Safety Measures, Concepts and Hurdles and the Giant Jetliners of the Future. This organisation makes for a much more exciting read on a concentrated topic rather than the more boring Chapter by Aircraft type approach which is more like reading a dictionary. This is how the book "Boeing Jetliners" is organised and although that is also a good book, I prefer this one for that reason. So in the Safety chapter, you get to see how these planes introduced redundancy, early warning systems, the Propulsion Controlled Aircraft system, fatigue testing, design changes and of course, ETOPS. Loads of information for the serious commercial aircraft enthusiast in an immersive documentary that you will find hard to put down.

This is an illustrated book with substance. If you just want some pretty pictures, get a calendar. This book gets into the hows and whys of large commercial aircraft. It meaningfully and clearly discusses flight physics and how these great aircraft are engineered. Any lay aviation buff would enjoy this book.

Giant Jetliners is the perfect book for anyone who has ever even been the least bit facinated by commercial aviation. Full of pictures and info about the most facinating things around. Worried about the future of commercial aerospace? See some of the proposed future aircraft like the MD-XX, 747-X program, Blended Wing, and the A3XX. The future is full of X's! This is a must-read for you.