The Walt Disney World Trivia Book: Secrets, History & Fun Facts Behind the Magic

The Walt Disney World Trivia Book: Secrets, History & Fun Facts Behind the Magic
Average customer rating:

Great book, fun way to gear up for WDW trip

Great Fun!

Trivia details are great

Interesting and informative

Walt Disney Trivia Volume I

The Walt Disney World Trivia Book: Secrets, History & Fun Facts Behind the Magic
Louis A. Mongello
Manufacturer: The Intrepid Traveler
ProductGroup: Book
Binding: Paperback

Trivia | Fun Facts | Reference | Subjects | Books
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Disney World | Florida | States | United States | Travel | Subjects | Books
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ASIN: 1887140492

Book Description

Not a travel planner, or guidebook, but a unique and entertaining collection of hundreds of multiple choice trivia questions, fill with secrets and interesting facts about all aspects of Walt Disney World.

Customer Reviews:

Great book, fun way to gear up for WDW trip.......2007-08-28

This book is a lot of fun, especially if you are about to take a trip to WDW. Lots of interesting information, but chopped up into small bites so it is easy to read a little at a time.

Great Fun!.......2007-05-18

If you love Disney, this book is really fun. Even if you have read a lot of other books and websites about Disney, there will be things in the book that will suprise you. My husband and I found that there were lots of new things to learn. Reading the book was a fun way to add a new dimention to our disney travel. We bring it on the plane and read it to get us motivated for our next trip.

Trivia details are great.......2007-01-10

the organization of the trivia could be less test like and more immediate with answers closer to the questions...

Good information and details

Interesting and informative.......2006-09-20

Mongello is a long time Disney World fan who has written a trivia book that will give the reader a lot of information that the typical guidebook will not. Of particualr interest to me was info on the age of some of the attractions as well as some history on popular attractions that are no longer a part of Disney World(such as 20,000 Leagues Under the Sea, Mr. Toad;s Wild Ride, etc).
My only gripe with the book is with the way it's laid out. You'll read a question on one page then have to get the answer to that question 20 pages later. It's not the way one typically reads a book. Still a very good book- 4.5 Stars.

Walt Disney Trivia Volume I.......2006-09-04

Awesome Book !! Loved it, could not put it down. Need a Volume 3.

The Walt Disney World Trivia Book, Volume 2: More Secrets, History & Fun Facts Behind the Magic

Average customer rating:

Disney Fan
A Little Piece of the Disney Magic
Fun Facts - Everything you should know about Walt Disney World!
Disney Trivia
Amusing means to while away time in the car

The Walt Disney World Trivia Book, Volume 2: More Secrets, History & Fun Facts Behind the Magic
Louis A. Mongello
Manufacturer: The Intrepid Traveler
ProductGroup: Book
Binding: Paperback

Trivia | Fun Facts | Reference | Subjects | Books

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The Walt Disney World Trivia Book: Secrets, History & Fun Facts Behind the Magic
Imagineering Field Guide to Epcot at Walt Disney World, The
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Hidden Mickeys, 2nd Edition : A Field Guide to Walt Disney World's Best Kept Secrets
The Imagineering Field Guide to Disney's Animal Kingdom at Walt Disney World

ASIN: 1887140638

Book Description

More fascinating facts and tantalizing trivia about the Happiest Place on Earth. Hundreds of multiple-choice questions with in-depth answers. Same popular format. All new information. Both a game and a reference.

Customer Reviews:

Disney Fan.......2007-10-22

My son and I love this book and we've only read the first section. We can't believe how much we're learning and how much we didn't know. We're enjoying finding out all the "little" things we never knew about Disney World.

A Little Piece of the Disney Magic.......2007-06-28

The Walt Disney World Trivia Book is like the friend I've always wanted who flies me down to Disney (for free!)and proceeds to take me through every park, attraction, and resort, telling me things I never knew about my favorite place. With a loyalty only a true Disney connoisseur can possess ("ever hear of some guy named 'Bugs Bunny'? Hmph. Me neither."), Lou presents his information the way I like it-it's personal, frank, and fun. Kind of like Lou himself...drop him an e-mail, and you actually get an answer! If there is one Disney informant to swear by, it's Lou Mongello. Some of his facts I knew, some made me laugh, and some made me realize that perhaps I'm not the Disney expert I make myself out to be. All I know is that those around me will have to endure new rounds of Disney fact-spouting. I almost feel bad for them. They had assumed they were safe after our (sniff!) last Disney trip in 2005. Although I shouldn't really mourn the trip's passing; with the WDW Trivia Book, I'm there all over again.

Fun Facts - Everything you should know about Walt Disney World!.......2007-05-23

I purchased Lou's book after I had found his website when I was planning my latest trip to Walt Disney World. After looking at his site and even signing up for the forum, I knew I had to purchase this book I'd been reading about! And I am so glad I did. The trivia is fun if you're reading alone or if you take turns reading with a partner and it's multiple choice too. Even more, the answers are found following each section with a short statement to provide further information about the correct answer. What I really love about this book is that the layout makes it a simplistic read that doesn't get boring. Even though it isn't a guide book, anyone (or any family) planning to take a trip to WDW can benefit from the exciting learning experience the book has to offer. It is a must read for first timers and fanatics!

Disney Trivia.......2007-01-30

Fantastic book! What you may have thought you knew...but didn't! An interesting book of facts that help you understand the making of Walt Disney World. A must have book for Disney mania! Volume 1 is just as interesting!

Amusing means to while away time in the car.......2006-11-05

Written by Louis M. Mongello, The Walt Disney World Trivia Book: More Secrets, History & Fun Facts Behind The Magic is an all-new, unofficial multiple choice trivia book. Half the book is devoted to hundreds of multiple choice questions; the other half answers each question at length with fascinating tidbits about the history and operation of Walt Disney World. Enumerated questions and answers are in separate sections for easy self-quizzing. "You'll find what on top of the hot air balloon at the center of 'Dumbo the Flying Elephant'? - Perched atop the balloon is none other than Dumbo's friend, Timothy J. Mouse, who helped Dumbo discover the ability to fly using his oversized ears." Black-and-white photographs, "Did You Know?" bars, and an index round out this amusing means to while away time in the car while driving to Disney World.

Book Description

Political Economy and the New Capitalism provides a vital and critical survey of key issues in political economy at the end of the twentieth century. The essays in this volume focus on key issues raised by contemporary trends in economics.

Book Description

The purpose of this book is to present the available methodologies for the solution of large-scale macroeconometric models. This work reviews classical solution methods and introduces more recent techniques, such as parallel computing and nonstationary iterative algorithms.
The development of new and more efficient computational techniques has significantly influenced research and practice in macroeconometric modeling. This volume supplies practitioners and researchers with both a general presentation of numerical solution methods and specific discussions about particular problems encountered in the field.
The work is organized into five chapters. Solution techniques for linear and nonlinear systems are reviewed and a graph-theoretical approach to perform this analysis is introduced. A model simulation on parallel computers of large-scale macroeconometric models is also described. Finally, a theoretical framework of rational expectation models is presented.

Book Description

It's the same message every election year: "Get out and vote-It's your civic duty." Those who audit the sound bites of the candidates, read headlines about the debates and finally pull the lever at their local precinct are touted as moral, upstanding citizens; those who find among the candidates no agreeable representative, no platform worthy of espousal, and who then refuse to turn out on election day, on the other hand, are labeled apathetic and the legitimacy of their opposition is denied. This book is an anthology of articles and excerpts from a variety of sources that deal with the topic of nonvoting. In presenting the minority view that important moral and political reasons abound for not voting, the book unfolds four general arguments: voting is implicitly a coercive act because it lends support to a compulsory state; voting reinforces the legitimacy of the state; and existing nonpolitical, voluntarist alternatives better serve society. Many people do not agree with the concept of nonvoting-but the serious and well thought through underpinnings of such a belief are of crucial importance to an understanding of modern American politics

Customer Reviews:

Great contribution to political (and anti-political) theory.......2002-12-25

In a 1984 speech, Wendy McElroy -- a great individualist anarchist and co-editor of this collection -- said, "[I]t has become necessary for individualist anarchism to develop a comprehensive defense of anti-political theory in order to counter the grotesque spectacle of anarchists running for President." In this book, she and her co-editor Carl Watner have taken an important step in this direction with this great assemblage of articles arguing against taking part in political activity, and most especially against voting.

I had expected this book to be heavy in weighty and contentious theory. In fact, it's divided into a number of easily digestible essays from great writers, including Lysander Spooner, Frank Chodorov, and Robert LeFevre, among others. McElroy's own contribution is her remarkable and memorable piece, "Why I Would Not Vote Against Hitler," while Watner presents nothing less than "The Case Against Democracy."

To make the case for not voting, and for rejecting political activism, is to swim against the tide of nearly everything modern Americans are taught to value -- as well as against much of the modern "Libertarian" movement, which views libertarianism as a competitive "public policy" option instead of what it properly is: a rejection of "public policy" altogether. These provocative and well-argued essays make a solid argument that, in contributor George Smith's words, "libertarians should oppose, not this or that Senator, but the office of 'Senator' itself" (p. 53), and help to recapture the time-honored libertarian conviction that voting is, in itself, an intolerable act of aggression against others.

I very highly recommend this challenging title.

Moral Culpability.......2002-09-07

The book starts off with a great Adin Ballou essay on the superiority of moral power over political power. It sets the stage for why we shall not vote. Then, Lysnader Spooner, Frank Chodorov, and others 'splain why we shall not underwrite evil, give consent to the plunder of our fellow men, or give legitimacy to political power throught the electoral process. Wendy McElroy even tells us why voting against Hitler is illegitimate. So forget the "lesser of two evils", and instead strip the State of its legitimacy and don't vote!

Choral Music: History, Style and Performance Practice
Average customer rating:

Too sparse for use in a college setting.

Not too deep but complete!

Choral Music: History, Style and Performance Practice
Robert L. Garretson
Manufacturer: Prentice Hall
ProductGroup: Book
Binding: Paperback

Voice | Instruments & Performers | Music | Entertainment | Subjects | Books
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A Survey of Choral Music (Harbrace History of Musical Forms)

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Choral Music in the Twentieth Century

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The Choral Experience: Literature, Materials, and Methods

ASIN: 0131371916

Book Description

Takes the reader through an enlightening tour of choral music, emphasizing on the musical style performance practice of different historical periods. The reference provides guidelines on the numerous aspects of performance practice for choral music based on the Renaissance Period, the Baroque Period, the Classical period, the Romantic period, and the Modern Period, with special emphasis on meter and stress, tempo, dynamics, tone quality, pitch, texture, and expressive aspects of the music of each period. Appropriate for Junior/Graduate-level courses in Choral Conducting and Literature..

Customer Reviews:

Too sparse for use in a college setting........2006-02-19

The author, in his introduction, describes this as an attempt to create a text for college and graduate level literature and conducting courses. Unfortunately, it is to thin, inconsistent and dated to be of use for any college course. Most information is covered too briefly to be of much help and is at times inconsistent with scholarship that was current when this book was published. Though the reference lists contain a large and balanced list of sources, the ones cited in the text are almost entirely ones from the 1960's and before.

The best use for the text would be by non-college trained choral conductors and possible a freshman introductory course.

Not too deep but complete!.......2005-10-05

I did not read it all but I became very happy with the some pages I have read today (when I have received it). It is not too deep (35 pages for the Renaissance Choral Music), but there is not too many choral history guides (or I don't know them), and this is quite good and takes under consideration many aspects and parameters of the music of each period (like Society, composers, sort of choirs, musical style and perfomance practice, related arts, references...). But I must tell something, WARNING: it is NOT A FACSIMIL, it is a good normal edition.

Average customer rating:

A Rifkin-Marshall anecdote
Putting the Matter Beyond Dispute
Intimate Bach

The Essential Bach Choir
Andrew Parrott
Manufacturer: Boydell Press
ProductGroup: Book
Binding: Paperback

General | Music | Entertainment | Subjects | Books

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Hearing Bach's Passions
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ASIN: 0851157866

Amazon.com

Playing baroque music on instruments of the period may be a solidly established practice in the year 2000, but in the 1970s and early 1980s it seemed quixotic, subversive, and even ridiculous to many people, and occasioned a great deal of dispute. Yet no argument seemed so off-the-wall as the one Joshua Rifkin made in 1981 with a paper and a performance of the Mass in B Minor: that Johann Sebastian Bach actually composed his great choral works for only one singer on each part. After an initial reaction of incredulous scorn ("B-Minor Madrigal" was an often-repeated barb), most Bach scholars and performers dismissed Rifkin's thesis as unworthy of serious attention and ignored it in the hope that it would fade away. It didn't: in fact, through the 1990s the one-singer-per-part idea slowly gained adherents, among whom we now find such highly respected musicians as Paul McCreesh and Sigiswald Kuijken.

Probably no scholar or performer has done more than Andrew Parrott (who is both) to keep Rifkin's idea alive. Over the years Parrott has argued eloquently for both the historical and the artistic legitimacy of performing Bach with one singer per part--and has produced some impressive recordings to back himself up. Several prominent Bach scholars have professed to be "waiting for the book" before giving their assessments of the Rifkin thesis; in time for the "Bach Year" 2000, Parrott has produced "the book"--and a very fine effort it is.

The Essential Bach Choir's virtues as a presentation and discussion of evidence may make it a bit difficult (though by no means incomprehensible) for lay people: the text is heavily footnoted, there are many musical examples, illustrations, and quotations (always given in the original as well as in translation); except in the prologue and epilogue, there is little discussion of the artistic merits of the one-singer-per-part approach (something for which The New York Times criticized Parrott). But this book isn't a critical essay on how good single-voice Bach sounds to our ears, it's a work of musicology intended to lay out the evidence and reasoning behind a thesis which has been dismissed, argued over, and viciously mocked for nearly two decades.

Parrott includes evidence commonly cited by the opposing camp; where warranted, he acknowledges their arguments, but more commonly he shows that the interpretation his opponents have given to the evidence is based on largely unexamined--and unfounded--assumptions. (Parrott quotes one esteemed Bach scholar who actually wrote, "Bach would have wanted..."--the sort of statement that academics in many disciplines would rip to shreds.)

What are these assumptions? That Bach's sacred works were quite naturally written for the medium of chorus-and-orchestra, like the oratorios of Handel, Haydn, and Mendelssohn (who revived Bach's vocal music in the mid-19th century). That those works are both the foundation and the summit of the entire choral-orchestral literature. That to posit such towering masterpieces as the St. Matthew Passion as originally meant for a little consort of soloists was literally unthinkable.

Parrott, following Rifkin's lead, argues that Bach's autograph scores and performing parts provide indications only for soloists. A very few works (all of which Parrott examines in detail) explicitly call for extra "choral" singers; for those works that do not, Rifkin and Parrott point out, it may not make sense to assume out of hand that Bach had or wanted such extra singers.

But isn't a choir by definition made up of several singers on each part? Not always--and Parrott presents much convincing material about the conventions governing vocal music in 17th- and 18th-century Germany that indicates otherwise. He also includes the complete text of Bach's much-argued-over Draft for a Well-Appointed Church Music, a memorandum the composer wrote to the Leipzig Town Council setting forth (depending on whom you ask) either the forces he wanted to perform his own music or the way he wanted the music program at the St. Thomas School and the church choirs for which he was responsible structured.

Since we have no rosters of performers--of the sort we have for some of Handel's operas and oratorios--for individual Bach works, this dispute may never be entirely settled. Also, as Parrott points out, modern-day performers and listeners are free to choose whatever medium for Bach's music satisfies them most--and musicians from Wanda Landowska to Angela Hewitt to Wendy Carlos have done so. But understanding Bach's sacred music surely requires understanding the medium for which he wrote it, just as understanding Beethoven's string quartets requires understanding that they weren't written for, say, a string orchestra. This book contributes immensely to our understanding of Bach's medium and milieu--and should be read by anyone who cares about Bach's music. --Matthew Westphal

Book Description

What type of choir did Bach have in mind as he created his cantatas, Passions and Masses? How many singers were at his disposal in Leipzig, and in what ways did he deploy them in his own music?Seeking to understand the very medium of Bach's incomparable choral output, Andrew Parrott investigates a wide range of sources: Bach's own writings, and the scores and parts he used in performance, but also a variety of theoretical, pictorial and archival documents, together with the musical testimony of the composer's forerunners and contemporaries.Many of the findings shed a surprising, even disturbing, light on conventions we have long taken for granted. A whole world away from, say, the typical oratorio choir of Handel's London with which we are reasonably familiar, the essential Bach choir was in fact an expert vocal quartet (or quintet), whose members were also responsible for all solos and duets. (In a mere handful of Bach's works, this solo team was selectively supported by a second rank of singers - also one per part - whose contribution was all but optional). Parrott shows that this use of a one-per-part choir was mainstream practice in the Lutheran Germany of Bach's time: Bach chose to use single voices not because a larger group was unavailable, but because they were the natural vehicle of elaborate concerted music.As one of several valuable appendices, this book includes the text of Joshua Rifkin's explosive 1981 lecture, never before published, which first set out this line of thinking and launched a controversy that is long overdue for resolution.ANDREW PARROTT has made a close study of historical performing practices in the music of six centuries, and for over twenty-five years he has been putting research into practice with his own professional ensembles, the Taverner Consort, Taverner Players and Taverner Choir.

Customer Reviews:

A Rifkin-Marshall anecdote.......2003-11-21

The first time (or perhaps ALMOST the first time) that Rifkin gave an exposition of his 1-on-a-part idea was at the November 1981 annual meeting of the American Musicological Society in Boston. The paper was read towards the end of an afternoon session, and then formally rebutted by Bob Marshall (at the time a prof at the U. of Chicago, my alma mater for musicology). There was a lively give and take afterwards, but then the cocktail/dinner hour intervened and the audience dispersed. Rifkin and Marshall then repaired to a local McDonald's to continue their debate. My current-day colleagues in the world of commercial r.e. appraisal scoff at the possible interest such topics could raise, until I mention the fascination some of us find in published debates over business enterprise value at shopping malls...ho hum.

At that 1981 convention I talked to Rifkin about Edw. Lowinsky's ideas concerning the authenticity and dating of certain motets by Josquin (a debate thereon had arisen due to an article by Thos. Noblitt), and J.R. replied to the effect that such questions were secondary to the quality of the music itself. The same attitude, I believe, is applicable to the Bach choir issue.

The music is incredibly lovely when performed by expert singers, one on a part. Does it add anything to our experience to believe that this is the "authentic" means of performance? What about the fact that most people today experience this performance as sound waves emanating from a speaker, or that today's singers are probably healthier than their 18th c. counterparts, etc.?

I believe that the intellectual appreciation of "what is authentic" is a valid and interesting exercise in its own right...but that it should be quite separate from the sensuous appreciation of the music, however it is performed. It doesn't do the music any good to be heard with a sense of moral righteousness OR indignation.

Putting the Matter Beyond Dispute.......2003-07-09

Joshua Rifkin's revolutionary thesis about one voice per part performances of Baroque choral works actually began from his studies of 17th century German music, notably Henrich (sic) Schütz. But it was only when he began to argue that the principle may also apply to the immortal JSB, that he provoked the ire of musicians and musicologists. Essays on the subject by Rifkin and his opponents, including Robert Marshall and Christoph Wolff, have been tossed backwards and forwards in various scholarly journals for over twenty years now. Thus Andrew Parrott does Bach lovers a great service by mustering all the relevant evidence into one handsome and well-written book.

That Bach's normal practice was to employ solo voices in his cantatas, passions and oratorios should now be considered beyond serious scholarly dispute. Of course, it is perfectly legitimate for conductors to say, as does Philippe Herreweghe, that they simply like the sound of a full choir in Bach, without pretending that this conforms to Bach's own practice. What is less attractive is the efforts of others, such as Ton Koopman, to defend what is merely a personal preference by belittling the Rifkin/Parrott discoveries.

Among Bach conductors, Rifkin and Parrott themselves were the first to put the theory into practice in concerts and recordings. Lately they have been joined by Jeffrey Thomas (Koch), Sigiswald Kuijken (DHM), Konrad Junghänel (Harmonia Mundi), Daniel Taylor (Atma) and, most recently, Paul McCreesh, whose single voice recording of the St Matthew Passsion (DGG Archiv) is a revelation. Parrott's book is intellectually convincing; these recordings are aesthetically and emotionally compelling.

Intimate Bach.......2000-07-02

Andrew Parrott's wonderful volume is the culmination of many years study and practical application of J. S. Bach performance practice. Many of the conclusions are not new, but follow from the work of Josua Rifkin, made more compelling with easily grasped, definitive scholarship. It is past time for the modern choirmaster and music director to seriously reconsider those grand scale performances, and hear Bach anew, intimate, expressive, and no less powerful.

Choral Music: History, Style and Performance Practice

Average customer rating:

Choral Music: History, Style and Performance Practice
Robert L. Garretson
Manufacturer: Prentice Hall
ProductGroup: Book
Binding: Paperback
ASIN: B000OHZ9LE

This Is Not a Rave: In the Shadow of a Subculture
Average customer rating:

Disappointing.

Sad, but true....

She knows...

This Is Not a Rave: In the Shadow of a Subculture
Tara McCall
Manufacturer: Thunder's Mouth Press
ProductGroup: Book
Binding: Paperback

Popular Culture | Social Sciences | Nonfiction | Subjects | Books
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Generation Ecstasy : Into the World of Techno and Rave Culture

Rave Culture, an insider's overview

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ASIN: 1560253959

Book Description

From the Lindy Hop to the Lambada, popular dance has worried the protectors of our public morality. New York City’s notorious cabaret laws are enforced today – it’s common to see "No Dancing Allowed" at your local saloon – and small bars without licenses have been harassed and shuttered for failing to keep their patrons wiggling in their seats. Rave culture is a worldwide phenomenon of unprecedented mass-appeal and, perhaps for that reason, an especial threat to the world’s corporatized wallflowers. Whether because of its catalyst drug, MDMA/Ecstasy, its fashion of defiant adolescence, or its unofficial credo of Peace, Love, Unity, and Respect, rave has elicited an especially punitive response. Tara McCall traces rave’s underground history in Detroit, Ibiza, and London, to the bacchanals that now attract tens of thousands of revelers. In a highly personal tour supplemented by 50 photographs and the voices of hundreds of young dancers who tell their own stories, McCall illuminates the wild fashion, drugs, hypnotic music, and most importantly, the hedonistic dance of a subculture now being driven back underground. This Is Not A Rave will challenge and entertain. It may get you up out of your seat.

Customer Reviews:

Disappointing........2005-06-06

For a book that attempts to depict one of the most colorful subcultures in recent times this is spectacularly drab and unenlightening. I was hoping for a detailed history of the rave movement, with in depth research and interviews with key people. Perhaps because the field is so rich the author could not bring herself to do anything more than a superficial description of a few original clubs, some songs and a handful of DJs.

The worst thing was that much of the book was taken up with inane comments from random punters who for the most part had nothing to say and read like so much "filler". Whole paragraphs were shamelessly lifted from internet newsgroups and towards the end of the book a seemingly irrelevant chapter on folk dance was inserted for extra padding. So lacking was this book in graphic and visual content that certain photographs were repeated over and over again. It's particularly disappointing considering the artistry and creativity of 80s and 90s dance party culture. The author missed her opportunity to document the multitudes of musicians, record producers, party promoters, DJs, drug suppliers, artists, writers, zinemakers and designers who were active at the time. Actually the author almost attempts to reduce the "rave" to a few simple behaviours and then ispo facto chronicles the fact that ravers grew bored and moved on. Not everybody wore "phat" jeans or even called them that. A great deal of attention is given to the Canadian scene and if you aren't Canadian yourself this comes across as a little parochial. I was also disappointed that there was little mention of the advocacy taken on behalf of ravers themselves to promote safer practises. A lot of those safety campaigns were highly imaginative and extremely colorful, but they were entirely glossed over.

Is it wrong to compare a movie to a book? I don't know but a film like "24 Hour Party People" provided so much more content about the era than this book. It was that kind of detail and historical depth I was expecting from "This Is Not A Rave" and I was extremely disappointed.

Sad, but true...........2004-04-09

I came across this book by chance and couldn't help but pick it up, even though I've long since hung up my glowsticks and retired my party clothes. I was a part of the East Coast scene, attending parties up and down from 1991 to around 1997. From the history to the present, the clothes, the dancing and most importantly, the people that made the scene seem so pure, Tara McCall touches on just about everything in some way shape or form. The book also outlines the unfortunate reasons why the scene has deteriorated to the mass produced, drug focused debacle that it's become. (Yeah, I'm jaded) This book is for anybody that had the time of their lives back in the day, dancing to the loudest beats for twelve hours straight in some obscure location with complete strangers that somehow, felt like good friends. Or something to that effect....

She knows..........2003-02-08

Back when I was a little candy kid, I would have bought this book, read the part about jaded ravers and vowed that it would never happen to me. I would have been wrong. One of the best parts of this book is the "Jaded Raver" test. It's amusing and sadly, true. This book takes a look at the rave scene as it becomes more mainstream and commercial, rather than glorifying the "good ol' days" of break-in parties, etc. It's a pretty honest look at the scene from 1999 to the present. Though some of us long for a good warehouse party and running from the cops when they raid us, we recognize that raving has become a drug culture, regardless of whether or not it was at its inception. I think anyone who goes to the parties so as to be in an environment where the use of drugs is condoned should read this book. Maybe you'll see what your fellow ravers really think of you...

This Is Not a Rave: In the Shadows of a Subculture

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This Is Not a Rave: In the Shadows of a Subculture
Tara McCall
Manufacturer: Insomniac Press
ProductGroup: Book
Binding: Paperback

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ASIN: 1894663098

Customer Reviews:

A book that even tel-illiterates will want to read!.......2001-09-09

It's a shame this book has such a dull title because it's really
a wonderful book! I have several shelves filled with television
reference books, but this one takes pride of place. True to its
title, the book is organized in the form of a dictionary, with A
to Z entries on individual shows, from "ABC World News" to
"Zorro." Not only is it stuffed with useful information on the
history of television from 1945 through 1995, it's great fun to
read. David Bianculli is that rarest of all TV addicts--a man
with an IQ number higher than the number of cable channels he
gets. He seems to know everything there is to know about every
show ever aired and can comment authoritatively on all of them.
Here he has selected 500 programs (both series and individual
events, such as the O.J. Simpson "Bronco" miniseries) that have
had the greatest impact--for better or for worse--on our culture
and explains why. All this has to do with his conception of
"teleliteracy"--the awareness and appreciation of TV's most
popular and meaningful offerings.

In other words, this book isn't strictly about the best and worst
in television history (though Bianculli offers tons of examples
of both), it's about the shows that have made the greatest
impression on our consciousness--the shows that live on our
memories, that have changed our language, and have shaped our
culture.

Excellent.......2000-08-12

Mr. Bianculli is a fun read and clearly a master of his domain. This book is a must have for any television fan or student. Keep it by the TV set and beat your family members in triva contests. Run don't walk to pick up a copy.

Excellent.......2000-08-12

A dog of a book; a huge disappointment.......1998-06-11

Perhaps I expected too much from this book. I had thought it would be a valuable reference for anyone who appreciates television and its history. Instead, the book is aimless drivel about nothing but the author's own opinions, not to mention his revolting and juvenile puns, appearing seeminly on every other line.

Book Description

In its first five years of existence, The Perl Journal (TPJ) became the voice of the Perl community. Every serious Perl programmer subscribed to it, and every notable Perl guru jumped at the opportunity to write for it. TPJ explained critical Perl topics and demonstrated Perl's utility for fields as diverse as astronomy, biology, economics, AI, and games. Back issues were hoarded, or swapped like trading cards. No longer in print format, The Perl Journal remains a proud and timeless achievement of Perl during one of its most exciting periods of development. Web, Graphics & Perl/Tk is the second volume of The Best of the Perl Journal, compiled and re-edited by the original editor and publisher of The Perl Journal, Jon Orwant. In this series, we've taken the very best (and still relevant) articles published in TPJ over its five years of publication and immortalized them into three volumes. The forty articles included in this volume are simply some of the best Perl articles ever written on the subjects of graphics, the Web, and Perl/Tk, by some of the best Perl authors and coders. Much of Perl's success is due to its capabilities for developing web sites; the Web section covers popular topics such as CGI programs, mod_perl, spidering, HTML parsing, security, and content management. The Graphics section is a grab bag of techniques, ranging from simple graph generation to ray tracing and real-time video digitizing. The Perl/Tk section shows you how to use the popular Perl/Tk toolkit for developing graphical applications that work on both Unix/Linux and Windows without a single change. Written by twenty-three of the most prominent and prolific members of the closely-knit Perl community, including Lincoln Stein, Mark-Jason Dominus, Alligator Descartes, and Dan Brian, this anthology does what no other book can, giving unique insight into the real-life applications and powerful techniques made possible by Perl.

Customer Reviews:

Good TPJ articles for the topics Web, Graphics and TK.......2003-09-02

"Web, Graphics and Perl/TK" is a reprint of the best articles of the The Perl Journal (TPJ) for the following topics:

- Web programming with Perl
- Graphics programming with Perl
- Perl/TK

The chapter about "Web programming" covers roughly the following topics:
- CGI programming and CGI.pm
- mod_perl programming
- LWP (libwwwperl) and the modules to parse HTML
- Miscellaneous topics

I found the main chapter "Web programming" very interesting and a good introduction into the topics that it covered.

The chapter "Graphics" is a collection of articles about Graphics programming without the use of Perl/TK (e.g. GD, Perl and GIMP). I found the articles to be quite interesting and to contain some very good ideas. Because I am a database guy, I will not use most of these ideas but I will definitely use GD to generate web graphics. It is always amazing how much you can do with Perl and how easy this can be (sometimes).

The third part of the " Web, Graphics and Perl/TK" deals with Perl/TK only. I personally do not really understand TK (even when I was still using TCL/TK) so that I cannot really comment on the contents of these articles. I found them quite readable and the stile was OK. However if I had to (re-)learn TK, these articles would not be enough. If I need to use Perl/TK, I will buy the O'Reilly books that cover Perl/TK.

I like this TPJ series because the authors cover a certain aspect of Perl or Perl usage in a very condensed form that makes it easy to get a quick start in this area. I am really looking forward to reading "Games, Diversions and Perl Culture" (last book of this series

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