This “book” (in the most expansive sense vs. lies, propaganda) with a foreword by Governor George W. Bush [so that pretty much gives you a clue about what I think of the content; note this was pre-debacle presidency]
There is a list of others Olasky wrote or co-wrote so if you want to read some propaganda, just check the titles at the end of this post. And I say propaganda having read CC which is full of religious babble:
p.101 [discussed the abhorrent aberration of Social Darwinism, embraced by government officials who complained that “idleness” and “other forms of vicious indulgence” are “frequently, if not universally, hereditary in character. . . .Vigorous efforts must be instituted to break the line of pauper descent.” He goes on to say that the biblical base opposed Social Darwinism. [things change I think].
Fantastic book. I was, at first, reluctant to read it because it was by John Dean of Watergate and Nixon infamy, however the cover jacket text and random sampling showed it was not a bunch of conservative propaganda. Especially interesting if a bit tedious are the tables at the back documenting how personalities of people lay out in conservative thinking. But mainly his basic prose is lucid and insightful.
Really good book. I am enjoying learning so many things from this book.
Here is a sample passage on p. 86 on the topic of vibrato.
Vibrato, the slight wavering in pitch, is often employed by contemporary string players, and it is a good example of the effect of recordings, because it’s something we take for granted as always having been there. We tend to think, “That’s how violin players play. That’s the nature of how one plays that instrument.” It wasn’t, and it’s not. Katz contends that before the advent of recording, vibrato added to a note was considered kitschy, tacky, and was universally frowned upon, unless one absolutely had to use it when playing in the uppermost registers. Vibrato as a technique, whether employed in a vocal performance or with a violin, helps mask pitch discrepancies, which might explain why it was considered “cheating.” As recording became more commonplace in the early part of the twenty century, it was found that by using a bit more by vibrato, not only could the volume of the instrument be increased (very important when there was only one mic or a single huge horn to capture an orchestra or ensemble), but the pitch – now painfully and permanently apparent – could be smudged by adding the wobble.”