Well-written and paced, Curtis Richards expands on John Carpenter's storyline much better than any of the latter film sequels. We learn that Michael had a mentally ill grandfather who also had a poisonous rage against young lovers. Michael talks as a child and we get his third person viewpoint. We get Laurie Strode's thoughts on the evils of Halloween and then, when she gets confronted with them. Plenty of teenage chatter that's even better now that I read this as a adult. Unlike the movie, very little restraint with violence and sex. I wish Richards had written the "Halloween II" novel, because that one can't hold a candle, or a jack-o-lantern, to this one.

If you have the chance to get this novel, GET IT!! It is definitely a treasure and classic storytelling at it's best. ...END

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...

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

To those who were there when John Kennedy was in the White House, this book will serve as a touching remembrance and to people who know about the Kennedys from just a historical standpoint, the photos and words will provide a more personal glimpse into the years that are commonly referred to as the Camelot era. Richard Reeves words are not overly sentimental but an accurate assessment of the life and times of this legendary family.

Overall, The John F. Kennedys: A Family Album, is a pleasant, yet sometimes sad journey looking back at what was considered the perfect family of two successful, stunning parents and their adorable children. Behind the photos, all was not perfect but Mark Shaw's camera didn't lie -- in the end, they were like any other family with problems but in-between they knew how to have fun and simply enjoy each others company, as is evident in many of Shaw's photos, especially those showing them at play at their home on Cape Cod.

Followers of the Kennedy's will no doubt enjoy this book, as will those who are interested in what life was like for a very public family who shared their private times with a talented photographer and with the world. If you like taking a look back in time, you will no doubt enjoy the journey Mark Shaw and Richard Reeves takes you on.

Heitzenrater is the Albert C. Outler Chair of Wesleyan Studies at Duke Divinity School. He is widely recognized as the foremost expert on Wesley's life. He is also the current editor of the Works of Wesley; he has taken that role since Outler's death.

The strongest criticism of this book is that it defies its own title -- there are no PEOPLE called Methodists in this book. For one of the most profound and popular religious movements since the Reformation, it is amazing that Heitzenrater has neglected to include a portrayal of the people themselves. Who were these people? I am not talking about Wesley's aids here. I am talking about the common folk who made up the lion's share of the movement. There is no mention in this book of women's spirituality (in a movement made up of approximately 60 percent women!). There is no discussion of the social factors surrounding the rise of Methodism. So much of the story is missed.

Nevertheless! This is an excellent introduction to the topic of Wesley and Methodism...it is only that it could have been so much more.

This is an excellent book for those seeking to gain a greater and more informed understanding of the sometimes difficult relationship betwen Wesley and the early Methodists - they were not always on the friendliest of terms.

A book highly reccomened for those wishing and willing to read a heavy but non-the-less readable book.

Congraulations to Richard Heitzenrater.

In the nicest possible sense, this book isn't exactly what the title claims. All to often discussions of change management tend to concentrate on the people side of things and ignore the less glamerous topics such as re-tooling, revised administrative and reporting procedures and so on.
So, just to keep the record straight, this book is primarily concerned with the personnel aspects of change, with all other aspects of the overall process taking a very secondary part in the proceedings.

And now, on with the review:

One of the ways I judge a book like this is by the number of highlights I've made (makes it so much easier to refer back to the key points).
Sometimes I'll go through an entire book and be lucky to have half a dozen highlighted passage.

NOT here, though.

Without a hint of exaggeration I found numerous points worth highlighting in every one of the eight reprinted articles.

Of course this is not entirely surprising given the list of contributors, which includes such "leaders of the pack" as John Cotter ("Leading Change"), Richard Pascale and Anthony Athos ("The Reinvention Roller Coaster"), and Jerry Porras (Building Your Company's Vision").

I'd also like to commend the article "Managing Change : The Art of Balancing", by Jeanie Daniel Duck, (which ended up with highlighting on nearly every page!).

So, whilst the material is not exactly new (the various items appeared in the Harvard Business Review between 1992 and 1998), I'd suggest this well-chosen set of articles is as important now as when the articles were first published.

There are articles from such leading authorities on change management as John Kotter (Leading Change), Paul Strebel, and more. Each article opens with an executive summary, helping you decide if you want to tackle that article then and there, or move on to another that fits your interests of the moment.

Sooner or later, change is about people altering the status quo, and those in charge often turn a blind eye to the fact that leadership is singularly the most important issue when an organization has to implement major changes. This is followed closely by teamwork, of which there won't be any without leadership.

Inside the covers you'll find the collected knowledge, opinions and counsel of those executives and consultants who have dealt with change at all levels. If your schedule doesn't permit you to leisurely meander through hundreds of pages to find a few workable ideas upon which to build some change solutions, then this collection should be highly recommended for you.

Volume I covers the model overall
Volume II goes a little more into dealing with incongruent clients, and a linguistic model of representation. [the 4-tuple, R-Operator and C-Operator]

THE GOOD -- [Although] It is not a very quick read... because everything in this book is actually useful. You will not want to rush through this one, and it is a book you will want to go back to. It does a good job covering the Milton Model, the language patterns and non-verbal communication.

This book is not for everybody though...

THE BAD -- Personally, there isn't anything I dislike about this book, but I do realize that some people have different interests and reasons for wanting to learn about hypnosis. First of all, this book is probably not for beginners. If you are, it would take a little longer to finish thoroughly. An book on Neuro-Linguistic Programming (NLP) that covers both the Meta-model and the Milton Model (consider "Introducing NLP", by Joseph O'Connor et al. -- it has a green cover) will provide a great introduction/pre-read to this book.

Maureen Farquhar (maureenfarquhar@yahoo.com)