(Guitar Collection). The 25 songs in this book are arranged in the solo guitar style first popularized by country music legend Maybelle Carter of the Carter family. The melody is played on the lower strings and the spaces between the melody are filled by strummed partial chords. Songs include: Blowin in the Wind * I Walk the Line * Love Me Do * Take Me Home; Country Roads * Wildwood Flower * Your Cheatin Heart * and more.
#786005 in eBooks 2015-05-21 2015-05-21File Name: B00U8YUBMU
Review
6 of 6 people found the following review helpful. Wonderful read; insightful commentaryBy D. CrosbyOne of the best theme park books Ive read. The first several chapters are the setup for the connections to come later. As I was reading I thought I might jump ahead a bit and skip some of the early history; but Im glad I didnt. The payoff for knowing the beginnings of the theme park make the current state of the theme park all the richer.2 of 2 people found the following review helpful. Great information!By Harold HuweThis is a great book for someone who wants a good overview of Amusement and Theme parks starting with the Mauch Chunk railroad and early Coney Island amusements to todays Disneyland and Islands of adventure. There are many photos; but I wish more of them were in color.4 of 4 people found the following review helpful. Some good stuff; but most readers will find his theoretical approach alienating.By lyndonbrechtThis is a very difficult read. Some readers will find it an excruciating bore. Here is why. The author has an approach grounded in a kind of postmodern theory; akin postmodernism in literary criticism. Heres a sample: "...the theme park is a performance about and through people." The idea that peoples lives are a continual performance is among postmodernist theories. Think of it as a kind of anthropological analysis and it will be more palatable. You can skim or ignore the philosophical bits. Note that the focus is mostly American.Why then; four stars? Because the information is intriguing and the research is solid. An example: he describes a 1750 London attraction called Jennys Whim; that featured mechanized mermaids; fish and monsters; a primitive animatronics.He makes a perhaps too strong differentiation between amusement parks and theme parks. Amusement parks are not organized around a unifying theme. Theme parks he says; "privilege" the family unit (translation: see families as their market niche). He has some interesting thoughts--architecture as performance; such as a replica of Big Ben at an amusement park. He sees the idea of theme expanding beyond traditional theme parks into themed malls of large size; citing some examples in China.The last part shades over into concepts like reading the theme park as a social text; a cool idea but only if you can wade trough the terminology.
