HOW IT ALL BEGINS
The door of the Imperial Suite opened and an elderly ginger-haired woman came briskly in followed by an attractive younger woman.
“Oh, Ariane, this is so romantic!”
“It’s totally over the top, Grandma. Empire furniture with gold ormolu and rose satin brocade. Even the grand piano has gold ormolu legs!”
Ariane went over to the piano and hit the ‘A’. “Anyway, it’s in tune.”
The elderly woman went out on the terrace.
“Ariane, come here and look at this; an Empire orangerie with white garden furniture, a trellis, and miniature orange trees with real little oranges. And what a view! It’s even better than from our house.”
Ariane walked out on the terrace and looked down at the Santa Monica amusement pier with its ferris wheel and little rollercoaster, then out across the bay at the silhouettes of Catalina and San Clemente Islands.
“For three thousand dollars a night, it should be from the moon.”
“Well, you only paid one-hundred dollars at the University fund raiser.”
“I got as a treat it for you and now you won’t stay.”
“You’re not going to meet someone with your grandmother along. Pick yourself a nice man and invite him to go with you to the Youth Symphony this evening. Here, take the tickets before I forget.”
“One of those tickets is yours.”
“I spent enough evenings in the Santa Monica Civic Auditorium when your grandfather had his amateur sinfonietta.”
“But it’s Sir Marshall Chalfont conducting music from his movie scores. You love his music.”
“I’d rather listen to a CD at home than sit on one of those uncomfortable folding chairs in the Civic.”
They walked along the terrace and went into the luxurious bedroom.
Ariane ran her fingers over the rose silk sheets on the lovely big bed.
“I should have waited a few more weeks to break up with Roger.”
“You shouldn’t have broken up with Roger at all. You won’t always have fine young men to throw away.”
“They’re emotionally immature and intellectually boring.”
“Then pick one of the professors.”
“The available ones are all unattractive and dreadfully dull.”
“You want a man with a beach boy’s body and Einstein’s brain. You’re thirty years old and you haven’t found him yet, and you never will.”
“Then I prefer not to marry anyone.”
They went from the bedroom into the rose marble bathroom. Ariane squeezed one of the thick warm bath towels on the heated rack, while her grandmother admired the wine red terry robes with ‘Imperial Suite’ embroidered in gold on the pocket.
“They expect you to take one of these robes.”
“Only when you’ve paid three-thousand dollars for the night.”
Ariane opened a frosted glass door and found a rose-tiled spa room with a shower big enough for two people to dance in, a massage table, and a Jacuzzi beside a screened garden with miniature rose bushes.
“Oh, Granny, just imagine yourself in this Jacuzzi with the breeze from the ocean bringing in the scent of those roses. It would be a real treat for you after our lion-footed zinc bathtubs.”
“You’re the one who won’t let me modernize.”
“Our 1908 Greene & Greene Craftsman house is a national treasure, and as long as I’m alive it’s going to be perfectly preserved.”
They went back into the bedroom and Ariane’s grandmother took a cosmetic bag from the suitcase.
“Put on some make-up, but not too much. Paint is for pudding faces and you have good bones.”
Her grandmother took a pair of high heel shoes out of the suitcase and set them firmly on the floor.
“Wear these tonight. You’re too short to go around in flats.”
“I’m five foot four and that’s not short.”
“It is if you meet a tall man.”
Her grandmother then set a new thong bathing suit on the bed.
“It’s two o’clock. Put this on and go down to the pool. The men will be out there after lunch.”
“I don’t have sit-by-the-pool boobs.”
“The man you want will prefer something very nice in a B to a silicone double D.”
Having given her instructions, Ariane’s grandmother walked briskly to the door.
“Call me tomorrow when you want me to pick you up.”
As soon as her grandmother left, Ariane put the bathing suit back in the suitcase and changed into a peach silk sheath dress and white sandals.
Ariane left the hotel and walked the few blocks to the Santa Monica Civic Auditorium. As a child she had watched her grandfather rehearse his amateur sinfonietta in the Civic for the free concerts he gave there. The concerts always included one of his own compositions; the only time his music was ever performed. The Santa Monica Sinfonietta died with her grandfather and his compositions were in the piano bench in the living room.
Ariane went in through the stage door at the back of the building, then walked across behind the orchestra and went down into the auditorium.
In the front aisle seat was a very handsome man with silken, snow white hair.
A shock of recognition went through Ariane, as if he was someone she had loved and lost long ago. But she had never seen this man before in her life.
------------------------------
HOW SIR MARSHALL BECAME A COMPOSER OF MOVIE MUSIC
Sir Marshall and Ariane crossed Ocean Avenue to the park along the top of the cliff overlooking the Santa Monica Bay. They read the last of Rachel Carson’s words set in bronze letters on the top of the pebbled Millennium wall:
... somewhere in the dark spaces of the universe.
Sir Marshall took Ariane’s hand in his and together they looked into those dark spaces between the stars.
Holding Sir Marshall’s hand, Ariane felt safe from everything in the world and the entire universe beyond. She would gladly have died in that perfect moment, if it could have lasted forever.
They walked on down the path, ducked under the tree that leaned low over it, and went to the fence at the edge of the bluff.
Curving arms of land defined by lights like tiny diamonds embraced Santa Monica Bay from the hill of Palos Verdes on the south, to Malibu’s mountains and the knob of Point Dume on the north.
“What brought you to California?”
“When I was a boy, my idols weren’t Bach, Brahms and Beethoven, but the movie composers Steiner, Korngold, and Herrmann. After I finished my studies at the Juilliard, I drove out here to write music for the movies. I couldn’t get a job, so I became a symphony conductor.”
“But now you compose for the movies.”
“I would have been happy to spend the rest of my life as Music Director of the Yorkshire Philharmonic, but my audience was dying off, so fifteen years ago, they fired me for that twenty-four-year-old wunderkind with golden curls to toss around who would attract a young audience to fill those empty seats.”
“The wunderkind is now bald and the Philharmonic is stuck with a hairless conductor who has bad tempi and a firm contract.”
They laughed together at the delicious irony.
“How did you get into movie music?”
“I couldn’t find another conducting job because I wasn’t ‘box office’. A friend from my Juilliard days brought me out here to do his movie score orchestrations. The rest, as they say, is history. The irony is that I wouldn’t be now what I wanted to be as a boy, if I hadn’t been fired from what I wanted to be as an adult. Seems as if we always get what we want too late.”
“Maybe we want what we remember we’re going to get. When I was a kid, I imagined time as an endless loop like a strip of movie film with the ends joined, and our consciousness just goes round and round it, illuminating one frame at a time. Sometimes we remember our future from the last time we went around.”
“Did you become an astrophysicist?”
“No, an evolutionary ethologist.”
“What’s that?”
“I study the evolution of the genetic programming for human behavior and in particular the psychology, physiology and neurobiochemistry of female mate selection,”
In other words, what makes men like you so sexy.
“What are you working on now?”
“The way the scent of a man’s pheromones influences how attractive a woman finds him. Cosmetic companies have already asked me to help them custom mix and bottle the aroma of attractive men’s pheromones, but that defeats the evolutionary purpose of the whole things because if a woman finds a man’s pheromones attractive it means their immune systems are complementary and they'll produce disease-resistant children.” But I could sure get a good price for your pheromones!
“What will your next research project be?”
“Finding the pheromones produced by our emotions. I believe we really can smell the primal emotions like fear, hate and love, and these cue what we call our ‘gut reactions’ to people. I’ve already turned down a Defense Department contract on that one.”
“Are you on the side of nature or nurture?”
“Both. Our biochemistry tells us what we want, and our culture tells us how to get it.
------------------------------
VETERANS DAY CONCERT
“I have a little surprise for you,” Marsh said as they got on the bed to watch the TV
It was the live broadcast of the Veterans Day concert in the Mall in Washington, DC.
Ariane immediately knew they would be playing a piece of Marsh's music, and she settled back in his arms to enjoy it.
When there was only twenty minutes left of the concert, which she knew would end with "The Stars and Stripes Forever" and fireworks, she wondered why Marsh's piece hadn't been played yet.
The Vice-President, who was the official host, came on camera.
“Tonight we are introducing a new work by Sir Marshall Chalfont, “Memorial to the Allies”, which was written at the special request of the President.”
“Oh, Marsh, what a wonderful surprise!”
The stage behind the Vice-President filled with old men who had served with the allied nations in World War II.
The orchestra then began Marsh's suite. It was a beautiful new memorial hymn combined with traditional songs associated with each of the countries that were united in that war.
As soon as the huge audience in the Mall realized what the composition was, they applauded for each country as they recognized its tune, and the old men from those countries waved back.
Marsh had not expected this, and tears streamed down his face.At the end of the suite, the Vice President came on camera again.
“I know we all want to wish Sir Marshall a happy sixtieth birthday.”
There was an enthusiastic round of applause from the huge crowd in the Mall, and then the band launched into "The Stars and Stripes Forever" .Marsh lost it completely, sobbing against Ariane's chest, and she comfortingly stroked his snow white hair, with tears running down her own cheeks.
When Marsh had collected himself he became quietly philosophical.
“It must be very lonely to outlive the rest of your generation and have no one who shares your memories... to be the last veteran of a war everyone else has forgotten. Those old men on the stage have more in common with the German soldiers they fought against than they do with this generation in their own country.”
“To expand on Henry James, both the past and the future are foreign lands.”
“I wonder if I could express in music what it feels like to be an exile from your own past?”
--------------------------------------------------
MALTED MUSTACHE ON THE SANTA MONICA MALL
When Marsh and Ariane came out of the movie theater, they strolled down the crowded Santa Monica Promenade, listening to the street performers.
“I want to go to Johnny Rocket’s.”
“What for?”
“I always get a hamburger, fries and a malted after a movie.”
“I will split a malted with you. That’s it!”
Ariane got a table at the outside patio rail where they could watch the people.
Marsh came out with a steel malted mixing container, one glass, and two big red and white straws.
Marsh filled the glass and stuck in the two straws, then he put his head directly over the glass with his straw straight up, and bent Ariane’s straw towards her.
“That’s cheating. You bent my straw.”
Ariane straightened her straw and put her forehead against Marsh’s over the glass. They locked eyes and started sucking on the straws.
When they had reached the zurpping point, Marsh refilled the glass from the container.
Ariane looked to the side and saw that half a dozen people had been watching them with amused smiles to see the dignified man with white hair engaged in a head to head drinking contest over a malted.
One little old lady smiled at Marsh and Ariane.
“You two looked just like a Norman Rockwell painting.”
Marsh pushed the refilled glass towards Ariane.
“Here, you finish what’s left.”
Ariane picked the glass up and drank down the malted as Marsh got up to leave, then she followed him.
“The composer of 'The Clowns Suite', shouldn’t mind amusing people.”
“I’m the composer, not one of the clowns.”
They strolled down the promenade to where some street acrobats were performing. The keyboard man got up to join a pyramid and Marsh slipped down on the seat and picked up the music where the keyboard man had left off.
The performers saw the man at their keyboard and froze.
Marsh started to get up, but they called to him in delight.
“No, stay! Play your 'Circus Fantasy' from 'FantasyLand'.”
Marsh sat back down to play them through their act.
When he started, there were about twenty people standing around. One of the spectators recognized Marsh and told the others that the man at the keyboard was Sir Marshall Chalfont, the composer of the 'Galaxy' music.
More people stopped to listen and the growing crowd drew a bigger crowd, until there were well over a hundred people, including some of the teenagers who had been at the horror movie.
When the act ended, there was enthusiastic applause and the acrobats found their hats filled with money, to which Marsh added a twenty dollar bill.
As Marsh and Ariane made their way through the crowd, everyone near enough reached out to pat him.
One of the teenagers who had been at the horror movie called out “Bravo Maestro!”, while others shouted “We love your 'Galaxy' CD!” One of the teenage girls even squealed, “Oooo, he’s so handsome!”
Each of the teenagers got a personal smile and “Thank you,” from Marsh, which clearly thrilled them.
When Marsh and Ariane got through the crowd, they ran for half a block to get well away, then slowed down to a stroll.
“I could do very nicely with a keyboard here in the Promenade. I could dress you as a clown to pass the hat. Maybe you could learn to make balloon animals; that would be perfect to go with my 'Circus Fantasy'.”
They laughed and walked along with their arms around each other.
When they had strolled all the way down to the end of the Promenade and back, Marsh turned to Ariane with a mischievous smile.
“Oh, by the way, that’s a very attractive malted mustache you got guzzling from the glass.”
Ariane flushed with embarrassment and wiped her face.
“Well, thanks for telling me before now.”
“You’re the one who doesn’t mind amusing people.”
--------------------------------------------------
BROADCAST FOR SCHOOL CHILDREN AND THEIR MUSIC TEACHERS
Marsh led Ariane into the William Holden sound studio on the Somy Columbia lot. There was a grand piano on the stage and two television cameras.
The seats in the small theatre were filled with grade school children and their school music teachers.
“Sit here, Ariane. I have to go change.”
Clarissa Falconi, an elegant, elderly woman with beautifully coifed silver gray hair came on stage.
“How many of you are studying a musical instrument?”
About twenty per cent of the hands went up.
“How many of you want to study an instrument?”
All the hands went up,
“Sir Marshall Chalfont and the Women’s Committee of the Youth Symphony have set up a fund to buy instruments for the schools.”
The music teachers applauded vigorously.
“Now I would like you to meet my new student.”
Marsh came out with his midnight blue dress trousers rolled up above his knees, high white socks, a French navy jumper over his white turtleneck, and a French sailor’s hat with a red pompom. He was holding a soccer ball and he clearly did not want to be there. The children shrieked with laughter. Most of the teachers recognized him, but didn’t let on and spoil the fun.
“Sit down at the piano young man.”
With an unhappy grimace, Marsh plopped himself down, put his soccer ball beside him, and tucked his legs under the bench.
Clarissa corrected his posture and went on to explain what a music student had to learn. Finally Clarissa sat down beside him with great dignity and they played chopsticks.
While the children laughed and applauded the first part of the skit, Marsh took off his sailor jumper and rolled down his trousers. He set the soccer ball on the piano, put the sailor hat on it, and gave the pompom a pat to the delight of the children.
“Now my student is eighteen,” Clarissa said.
Clarissa explained the repertoire of pieces he could now play, as Marsh provided excerpts, all the while flirting behind his teacher’s back with each of the women music teachers in the audience. The young teachers blushed and the older ones laughed in delight, while the children giggled and pointed when a teacher they knew was the subject of his flirtation.
“And now lets see what a hardworking music student can become.”
The lights all went out and then a spotlight came on and there was Marsh wearing his Armani evening jacket with his medal miniatures. He held an Oscar in one hand and a Grammy in the other. Clarissa, still in the darkness, played his ‘High Flight Theme’ so beloved by children. The children jumped up cheering.
The spotlight widened to include the piano. Marsh put his Oscar and Grammy on either side of the soccer ball, then offered his hand to Clarissa to stand her up beside him.
“My name is Marshall Chalfont, and Clarissa is my real life teacher. This Oscar for FantasyLand is dedicated to her.”
Marsh then took off his jacket and sat down at the piano.
Clarissa stood behind him with her hands on his shoulders as he played a medley of his music.
The music teachers had tears running down their faces all through the music and into the applause.
Clarissa then turned to the audience.
“I would like you to say hello to Marshall’s wife. They’re expecting their first little musician at the end of May.”
Ariane stood up, waved and smiled.
BEFORE YOU GO ON TO THE REFERENCE SECTION, SEE IF YOU CAN FIND THE NAME OF THE COMPOSER ON THIS CD COVER AND LINER- CLICK TO ENLARGE THE IMAGE
PAGE ABOUT ALL ASPECTS OF CREATING MUSIC FOR THE MOVIES
Books about Creating Music for the Movies
Listening to Movies: The Film Lover’s Guide to Film Music
Fred Karlin, foreword by Leonard Maltin.
Hardback - 429 pages
Maxwell Macmillan International 1994 List Price: $37.56
ISBN: 0028733150
Excellent on business details, Oscar politics, etc. Mistitled because this is more a guide for the pro.
The Reel World: Scoring for Pictures
by Jeff Rona
Paperback - 240 pages
Miller Freeman Books 2000 List Price: $24.95
ISBN: 0879305916
Very good on the process and technology of film scoring.
Complete Guide to Film Scoring: The Art and Business of Writing Music for Movies and TV
by Richard Davis
Paperback - 304 pages
Berklee 2000 List Price: $24.95
ISBN: 0634006363
The art, technology and business of film scoring.
Music for the Movies 2nd Edition
by Tony Thomas
Paperback - 280 pages
Adventures Unlimited 1997 List Price: $19.95
ISBN: 1879505371
The history and the composers of film music.
The Score: Interviews With Film Composers
by Michael Schelle
Paperback - 420 pages
Silman-James Press 1999 List Price: $19.95
ISBN: 1879505401
In-depth and very insightful interviews.
Sound and Vision: 60 Years of Motion Picture Soundtracks
by Jon Burlingame
Paperback - 288 pages
Watson-Guptill 2000 List Price: $18.95
ISBN: 0823084272
Thumbnail biographies of the movie composers and discussions of significant scores
Hearing Film: Tracking Identifications in Contemporary Hollywood Film Music
by Anahid Kassabian
Paperback - 224 pages
Routledge 2000 List Price: $19.99
ISBN: 0415928540
Gramophone Film Music: Good Cd Guide
by Mark Walker (Editor)
Paperback - 260 pages
Music Sales Corp. 3rd edition 1998 List Price $16.95
ISBN: 1902274008
Music and Cinema
by James Buhler, Caryl Flinn, David Neumeyer
Paperback - 384 pages
Wesleyan Univ. 2000 List Price: $24.95
ISBN: 0819564117
Books about Bonobos
BONOBO: The Forgotten Ape
F.B.M. de Waal & Fran Lanting (Photographer)
Paperback: 234 pages
U California Press: 1997 List price: $27.50
ISBN 0-520216512
The bonobos are unique in that social interactions and conflict resolution are all mediated by a wide variety of sexual acts, which occur many times a day for each individual. Bonobo females, like human females. do not give any outward sign when they are in estrus, and bonobo females solicit sex from males throughout their monthly cycle, and prefer the ‘missionary position’. In common only with human females, bonobos females have large breasts, with their size unrelated to their milk-producing function.
DEMONIC MALES: Apes and the Origins of Human Violence
Richard Wrangham and Dale Peterson
Paperback: 350 pages
Houghton Mifflin: 1997 List price: $14.
ISBN 0-395877431
The bonobos are the only one of the Great Apes (which include humans) that do not use violence to establish male domination and to solve social and territorial conflicts. In bonobo society, males and females are co-equals, and females co-operate to prevent male violence. Unique among the Great Apes (and many other creatures) bonobo males do not commit infanticide, perhaps because it is a female controlled society, and perhaps because the males do not have exclusive access to any female and do not know when she might conceive, so any infant might be their own.
PEACEMAKING AMONG THE PRIMATES
F.B.M. de Waal
Paperback: 294 pages
Harvard U. Press: 1989 List price: $18.
ISBN 0-674-65921-X
How various primates settle conflict, with a section on the bonobos.
CHIMPANZEE POLITICS: Power and Sex Among Apes: Revised Edition
Franz de Waal
Paperback: 235 pages
Johns Hopkins U Press: 1982, 1989, 1998 List price: $17.95
ISBN 0-8018-6336-8
This landmark study reveals that our primate cousins engage in politics using many of the same tactics and strategies as humans.
KANZI: The Ape at the Brink of the Human Mind
Sue Savage-Rumbugh
Paperback: 299 pages
Wiley: 1996 List price: $15.95
ISBN 0-7115959X
The story of a bonobo raised from infancy by a human ‘mother’.
Books about Sex in Evolution
THE ALCHEMY OF LOVE AND LUST: Discovering Our Sex Hormones and How They Determine Who We Love
Theresa L. Crenshaw, M.D.
Hardcover: 342 pages
Putnam1996 List price: $24.95
ISBN 0-399-14041-7
This is absolutely the best book on the subject. It covers the biochemistry, physiology and psychology in very readable, clear and comprehensive way. Putnam printed this hardback book on cheap wood pulp paper that has already turned yellow, and crumbles like an old newspaper, and Putnam no longer offers this book for sale. Please, Dr. Crenshaw, bring out an e-book edition!
ANATOMY OF LOVE: A Natural History of Mating, Marriage, and Why We Stray
Helen Fisher, PhD
Paperback: 432 pages
Fawcett 1994 List price $12.50
ISBN 0-449-90897-6
This well-written book looks at the subject from the point of view of physiology and evolutionary psychology.
THE MATING MIND: How Sexual Choice Shaped the Evolution of Human Nature
Goeffrey F Miller, PhD
Hardcover: 503 pages
Doubleday 2000 List price: $27.50
ISBN 0-385-49516-1
The suppressed half of Darwin’s theory of evolution which says women’s aesthetic preferences in men shaped the evolution of human intelligence and creativity.
THE DANGEROUS PASSION: Why Jealousy is as Necessary as Love and Sex
David M. Buss, PhD
Paperback: 258 pages
The Free Press 2000 List price: $25
ISBN 0-684-485081-8
The many manifestations of jealousy and how they serve evolution and getting one’s genes into the next generation.
THE EVOLUTION OF DESIRE: Strategies of Human Mating
David M. Buss, PhD
Hardcover: 262 pages
Basic Books 1994 List price: $16
ISBN 0-465-402143-3
The differences between the mating strategies of men and women, and how these strategies are carried out in casual and committed sex.
DR TATIANA'S SEX ADVICE TO ALL CREATION: The Definitive Guide to the Evolutionary Biology of Sex
Olivia Judson, DPhil, Oxford
Hardcover: 309 pages
Henry Holt: Metropolitan Books 200 List price: $24
ISBN 0-8050-6331-5
A scientifically sound, absolutely delightful book in which creatures of all kinds write 'Dear Abby' questions about problems in their sex lives, and get replies that explain the evolution and function of their mating behavior, along with amazing 'believe it or not' facts about the sex lives of other species, A great way to learn about the evolutionary biology of sexual behavior, with some very interesting insights to human mating strategies. www.drtatiana.com
Books about the Arts & Crafts Movement and Craftsman Houses
GREENE & GREEN MASTERWORKS
Text by Bruce Smith, Photographs by Alexander Vertikoff
Hardcover: 240 pages, color photographs
Chronicle Books, San Francisco 1998 List price: $40
ISBN 0-8118-1878-0
Magnificent book with a scholarly text and beautiful photographs of the Craftsman houses of Greene & Greene, principally in Pasadena.
GREENE & GREENE: The Passion and the Legacy
by Randell L. Makinson
Hardcover - 240 pages, color photographs
Gibbs Smith Publisher. List price $75
ISBN: 0879058471
Considered by many to be the ultimate book on Greene & Greene with magnificent photos. It is especially excellent on the Blacker House.
AMERICAN BUNGALOW STYLE
by Robert Winter
Hardcover - 224 pages, color photographs
Simon Schuster 1996 List Price: $40
ISBN: 0 684-80168-X
A beautiful book showing the varieties of the bungalow style from modest little homes to magnificent custom built houses.
THE BUNGALOW: America’s Arts and Crafts Home
by Paul Duchscherer & Douglas Keister
Hardcover - 152 pages, color photographs
Simon Schuster 1995 List Price: $32.95
ISBN: 0 670-86353-X
A handsomely photographed book including excellent shots of interiors, that shows the varieties of the bungalow style.
ARTS & CRAFTS: The California Home
by Douglas Congdon-Martin & Robert Winter
Hardcover 160 pages, 400 color photos
Schiffer Publishing, Ltd. 1999 List Price: $49.95
ISBN: 0 7643-0629-4
The Arts & Crafts movement in California featuring items the exhibition at the California Heritage Museum in Santa Monica. Covers furniture, lighting and accessories, metal wares, pottery and ceramics, books and periodicals, and fine art .
STICKLEY STYLE
by David Cathers & Alexander Vertikoff
Hardcover -224 pages, color photographs
Simon Schuster 1999 List Price: $40
ISBN: 0 684-85603-4
The home, work and influence of Gustav Stickley.
TOWARD A SIMPLER WWAY OF LIFE: The Arts & Crafts Architects of California
by Robert Winter (Editor)
Hardcover - 304 pages 365 duotone photos
Univ. California Press 1997 List Price: $45.00
ISBN: 0520209168
Covers the work of architects such as Bernard Maybeck, Charles and Henry Greene, John Galen Howard, and Julia Morgan.
CRAFTSMAN HOMES: Architecture and Furnishings of the American Arts and Crafts Movement
by Gustav Stickley
Paperback - 224 pages, Black and White illus.
Dover Publications Reprint 1979 List Price: $12.95
ISBN: 0486237915
One of several books by a preeminent creator of Arts and Crafts furniture, now available in reprint.
Book about Carousels
PAINTED PONIES: American Carousel Art
By Manns, Stevens and Shank
Hardcover 256 pages, color photographs
Zion International Publishing Company 1986 List price: $40
ISBN 0-939548-01-8
Delightful and scholarly book about carousel animals, the people who carved them, the carousels they were used on, and the carousels you can still ride, such as the one on the Santa Monica Pier. The photographs are wonderful.
