This spirited story of the invention of the potato chip is a testament to human ingenuity and a tasty slice of culinary history. The popular topics of cooking and food are explored and readers are introduced to a historical 'celebrity chef'. An afterword provides more about the life of George Crum.

George Crumb is a composer at the forefront of post-World War II American music, and never before has one volume combined a portrait of his life with a catalogue of his extensive work. David Cohen's George Crumb: A Bio-Bibliography corrects this by providing the reader and researcher with an overview of Crumb's life, career, and compositions; and an annotated guide to literature by and about the composer—including not only articles and books, but also album reviews, concert reviews, and interviews. The biographical portion, written in close consultation with the subject, has resulted in perhaps the most complete and accurate biography currently in existence—an irreplaceable resource for anyone seeking a full understanding of 20th-century music.

Explains 47 doctrines, listed in 11 major sections. Subtopics include: The nature of God, orgin of man, sin, offices of Christ, atonement in the Bible, death, and justification.

A mouthwatering tale of invention. When a persnickety customer named Filbert P. Horsefeathers complains that George CrumÍs fried potatoes are too thick, George makes them thinner. When Filbert insists they are still too thick, George makes them even thinner. But when the plate is sent back a third time, George mischievously decides to use his sharpest knife to cut paper-thin potato slices, which he fries until they are crackling and douses liberally with salt. At last, Filbert is satisfied, proclaiming, ñPerfection!î Which they are. Because, quite by accident, George has invented potato chips! Based on true events, this delicious tale will have kids clamoring for more, more, more!

George Crumb often writes his music in a radical way for the piano, constantly asking the performer to play on the inside of the piano, a technique in which he is pretty much a pioneer. This book talks about the exploitation of a new and hitherto unexplored range of color that can be accessed with the hands and fingers inside the piano or by inserting sound-altering devices into the strings. However, he writes in textures and styles that clearly relate to Debussy and Chopin, particularly in his use of the sustaining pedal, and in the way, he sets up a layer of sustained sound through the pedal into which he then places his melodic and rhythmic ideas. He often mentions his indebtedness to these great masters of the past in his music program notes. He even sometimes quotes directly the music of Chopin or Beethoven within his own compositions. In that regard, Crumb sees his music in an evolutionary way. In George Crumbs piano music Makrokosmos Volume II, the pianist has the added issues of often having to play while standing, including playing on the keys and inside the piano while standing. These, and many other physical difficulties abound in this music, are dealt with throughout this technical guidebook.

This book studies George Crumb’s The Winds of Destiny (2004) and Black Angels (1970) as artifacts of collective memory and cultural trauma. It situates these two pieces in Crumb’s output and unpacks the complex methodologies needed to understand these pieces as contributions and challenges to traditional narratives of the Civil War and the Vietnam War. The Winds of Destiny is shown to be a critical commentary on the legacy of American wars and militarism, both concepts crucial to American identity. The Winds of Destiny also acts as an ironic war memorial as a means of critiquing such concepts. Black Angels has long been associated with the Vietnam War. This book shows how this association began and how it endures through connections to iconic Vietnam War media, including films and books. Together these analyses show the legacy of trauma in American collective memory, which is in a continuous crisis. Crumb’s musical critiques point to a need to resist conventional narratives and to begin to heal trauma on a collective level. This book will be of interest to students of contemporary American music, American studies, and memory studies. It benefits readers by newly situating Crumb’s music within these three fields of study.