Television Books

This book is more than an amazing story of overcoming challenge for a young boy with so many problems as he finds his wonderous voice through a genus for music. More it is a story that will impact each and every person who reads it, Whether in response to this amazing true account of triumph and miracles, or tapping in to some place in us that thinks we "can't".
A great gift for anyone you love.

Reading REX brought tears to my eyes and filled my heart with joy at the same time. REX makes you feel it all--his mom Cathleen takes you on a gripping journey that makes you feel like you were there. I laughed, I cried, I found myself reading late into the night to find out what was going to happen next in this powerful real-life thriller, where the hero is a blind and autistic child who battles the vicelike grip autism has on his brain and discovers (with his mom by his side) that music is his key to life. You see the blossoming of musical genius with all the rest. Cathleen's lyrical prose makes you see hope is greater than fear, and that love will ultimately triumph. REX was a breath of freshair!

What a phenomenal book! It's an engaging quick read that's full of incredible insight from a mother that loves her son and her God. If more parents had a small fraction of the focus on their children that Cathleen has on Rex there would be far fewer issues with our kids. It's undeniable that Rex has amazing talent, but I think Cathleen is even more incredible. I can't even comprehend what she has gone through and stand in awe of what she has achieved through love, faith and sheer tenacity. Lives will be changed because of this book.

This is a truly inspirational book! It is well written and hard to put down! Cathleen takes readers on her journey from the grim diagnosis and her struggles with God as she seeks to unlock the mysteries of her disabled child. This is a story about a woman determined to find meaning and joy in her son's life and ends up discovering purpose and joy in her own life.

Cathleen Lewis tells a truly remarkable story of motherly love coupled with faith and steely determination. This well-written book is a page turner, you simply can't put it down as you travel with her through the depths of the challenges and the highs of the victories as they unfold. To me it was the story of both hope as well as an account of what patience, love and determination can bring to the life of a child who otherwise might never have blossomed. Bravo to Cathleen Lewis!

Best Book Ever, if you're in to Gram or Rock/Americana bios. This is the 4th copy I've bought, 3 as gifts.

It's very easy to read, very entertaining, and you have to wonder how this guy has managed to live so long and so much. I had never heard of Phil Kaufman until I saw the movie "Grand Theft Parsons." I am a Gram Parsons music fan, but never knew his body was "liberated" and burned in Joshua Tree, CA. Thinking this can't be true, I researched on the internet, found this book and decided to check it out.
The stories are funny and unique, and I'm a little less naive about some of these people and the times they lived in.

I love this book! It's the funny and heart-felt inside story of the life and times of a rock music insider.Heck,he was the manager for some of thee best darn musical acts in the history of rock and country music.Period.He was not just their bodyguard,he was their friend and mentor as well.He laments about not being there to protect Brian Jones from the druggy landscaper ,who beat him over the head with a shovel.Jones was then dumped into a swimming pool,to make it look accidental.Phil Kaufman was earlier fired by the Stones ,that crazy and care-free Summer of 1969.It's not his fault Brian later died.It's amazing their musical act is still top-notch after touring for fourty plus years. Later ,Phil helped Manson record an album called ,"LIE". Everyone in the music industry,did not want anything to do with Charles Manson.And even Terry Melchoir and Dennis Wilson gave up on Manson and his Family,when the sessions began to fall apart.(Manson sounded more like Bobby Darrin the Crooner than a psychodelic hipster.)Manson's music is awesome ,yet their sinister religious beliefs led to the terrible slayings that landed most of the Family ,on ice .Manson was very charasmatic and had impressive song writing and singing ability.Yet, his age played a strong barrier in an industry obsessed with beauty and youth.Phil blames himself for the LaBianca murders,because Phil was one of Manson's targets.Phil was not home ,at his bungaloo,so the Mansonites went next-door to the LaBianca's mansion.So,the urban myth goes.It turns out that Leno LaBianca owed large amounts of money ,in gambling loses .He was using money from his super-market empire to cover some of his loses.I think Manson's heroin supplier was aware of this.And directed the Mansons to go next-door,if Phil was not at his bungaloo.Of course,'someone' had called Phil away from the scene ,earlier that evening.It's no surprise and no one blames Phil for leaving the hippy-dippy L.A. scene for the real Music City of Nashville. -Ps-Gram(O'Kelley)Parsons died way to soon.Gram Parsons was like the real-life Keith(Cassidy)Partidge in many ways. -If you know the story, behind the music, it adds to the enjoyment of reading this excellent musical autobiography.Bright Blessings and God Speed to Phil Kaufman.Buy this book !

Incredible tale of an amazing guy. We have known each other for over 60 years and I can vouch for the accuracy of his story. Many men lead lives of quiet desperation - not Philip Kaufman. His every moment is an adventure filled with humor and exuberance.

I first became interested in Phil Kaufman after watching the bonus footage section on the DVD "Grand Theft Parsons". After a little internet searching I came across this book. I am so glad that I did! What an amazing story. If there weren't photos & liner notes to back up this man's tale one might not believe it. Phil, known as "The Mangler", has gone from being a former inmate & friend to a pre-Helter Skelter Charlie Manson to the Executive Nanny of the Rolling Stones. He has been an inspiration to the likes of Frank Zappa & fulfilled the now infamous last wish of his friend & colleague Gram Parsons. He has traveled the world with such acts as Joe Cocker & long time friend Emmylou Harris. He has acted in Hollywood, riden across England by Harley & has Mangled his way through rock & roll. His body's tattoos seem to be as colorful as his vocabulary & memory. In the words of actress Elizabeth Ashley, the Mangler seems to truly be "terribly funny, mythological & charismatic". To read him is to love him. Even if you are not interested in the music industry, you have to read this man's story. It will keep you laughing & dazzled the whole way through. May Phil continue his Mangling ways for many years to come!

OK account of the making of Casablanca moves well when talking about the history of the movie, but is dragged down when the last third of the book focuses on film making and film censorship during the war. Not that that's a bad thing, but it's the subject for another book.

This 1992 book tells about the 1942 film "Casablanca". No one expected this romantic suspense film to become so great. Aljean Harmetz spent years of research and interviewed those who worked on the film, and read the Warner Bros. archives. Harmetz described the studio system and tells about the personalities and politics. The Hollywood studio was like a factory assembly line, not a glamorous fantasy. The actors who played refugees were often in fact refugees from Nazi Europe. Hollywood's production code played down the scandalous affair between Rick and Ilsa. [The film would be little remembered if that final shootout left Strasser, Laszlo, and Renault dead so Rick could run off with Ilsa.] The morally right ending meant a stronger ending (p.229).

The 'Acknowledgments' thanks the people who helped in the writing of this book. There seemed to be more people than the actors on the screen. Harmetz grew up near M-G-M, her mother worked for them (p.xii). The film had a "blend of romance and sacrifice", as if it was a lesson for WW II America. It was a dirty dangerous job but we had to do it. The script was developed along with the film. Hundreds of other films were built the same way, but "Casablanca" remains a classic. I think the idea of self-sacrifice is overstated, Rick had too much experience to become sentimental Its basic unity of time, place, and action makes it a better film than "Citizen Kane" (which is more cynical). The author explains the interplay of production that formed this film (p.xiv).

Harmetz says the popularity of the film is the way its mythology echoes America's self-image (p.6): tough on the outside but moral within. [An echo of the Cowboy Hero?] This film was a combination of accidents and luck, a haphazard picture that turned into a favorite movie (p.7). Warner movies were topical, based on the news (p.8); their films had a rawness or edge lacking at other studios. Their style was distrust of authority, suspicion of human nature (p.25). Chapter 3 has the story of Murray Burnett, the vocational high school English teacher who wrote "Everybody Comes to Rick's". Every character in the film is in his play (p.36), the dialogue too (p.38). The writers made many changes (p.39) and took the credit (collective work). Rewriting sharpened the script, scenes were rearranged for more dramatic effect (p.56). The collaboration was interactive.

Chapter 4 tells of the director Michael Curtiz and the producer Hal Wallis. They and their wives were close friends (p.64). More people went to the movies during wartime (p.66). Warners made the first anti-Nazi film in 1939. They encouraged their employees to join the Rifle and Pistol Club (p.68). Southern Californians favored imprisoning the Japanese, there was fear of an attack (p.69). Bergman "projected an innocence and purity" that made her popular (p.118). The real life of Bogart and Bergman was the near opposite from the screen. They thought the dialogue was ridiculous and the situations unbelievable (p.119). Were movies better then because of the layers of character actors (p.145)? Why did those Germans sing "Watch on the Rhine" (p.169)? Casey Robinson rewrote the romantic relationships (p.175). Chapter 11 tells what the actors did off the set. Later written accounts contradicted each other (p.203). The music in the film is covered in Chapter 15. Government control of Hollywood is described in Chapter 17; preaching propaganda wasn't popular. The history of the stars of "Casablanca" is in Chapter 19. Chapter 20 has the hodgepodge of various comments on the film. They seem to treat this work of fiction as realistic fact. Harmetz summarizes the film on the last paragraph (p.354).

Could this film be compared to a classic western film? Strasser is the foreman for the Big Rancher who wants to take over the smaller ranches. Renault is the sheriff in cahoots with him. Preacher Victor spoke out against the takeover, and is in trouble. Schoolmarm Ilsa loves Victor for his politics. Rick acts like a Cowboy Hero who defeats the evil Big Rancher to assure the escape of Victor and Ilsa; Rick knows his relationship with Ilsa would not survive out on the lone prairie.

"Casablanca" is, unarguably, one of the greatest films ever to emerge from the Hollywood dream factory. So, it's entirely fitting that the prolific and hugely talented Aljean Harmetz should give us the ultimate bible, road-map and encyclopedia of this Bogart-Bergman classic.
It's a fascinating read from cover to cover, including scores of back stories relating to every stage of the film's development. What's more, it will help settle hundreds of bar-room bets, thus paying for itself many times over! To author Harmetz, I can only say, "Here's looking at you kid!"

As a Casablanca lover (words don't do it justice), I ate this book up. Harmetz writes with warmth about nearly everyone involved in the film except Jack Warner, about whom she writes with a deserved respect. The stories of the bit players, most refugees, expanded the Casablanca context tremendously for me. The suspense, and the tale of how this gem could have been different in so many ways (or not produced at all), made me appreciate this cultural icon even more. I haven't seen the film since reading this book, but you bet when I do I'm going to turn off the phone.

Aljean Harmetz's "Round Up the Usual Suspects" is one of the best books on the making of what is probably the best film of the 1940s (and possibly of all time). Harmetz explains almost every aspect of the story--often sounding more like fiction than fact--of the making of this all-time winner. These aspects include who was behind the camera, the actors, and the writers. She provides many details about life behind the WB shield--which collaborates the view of Jack Warner as a jerk seen in a fine book,"Hollywood Be Thy Name"--the fights on who wrote the screenplay, and how they all meshed together to create an enduring classic. She also explains how the film escaped the propanganda machine of later 1940 films. If you love this film, you should read this book! Let us hope that it returns to print witht he release of the special DVD edition of "Casablanca".

All information in this book is usefull, even if you aren't writing screenplays. There were a lot of interviews which were somewhat helpful but not what I personally was looking for. I was looking for more of how to format a screenplay and there was not a lot of this in the book. Also some of the websites in the book did not work (which Hamlett could not have had any control of). I was very dissapointed that the Film camp that has a few pages of the book dedicated to it's website hasn't been updated since 2003. There were a lot of good exercises and things to do. I reccomend this book to writers in general. If you are a screenwriter or just starting out I recommend that you buy this book along with "How to Write a Screenplay in 21 Days" together these two books are a great starting point.

With ageism sweeping Hollywood recently, and executives apparently desperately looking for the "next genius 18-year-old screenwriter," it was only a matter of time before someone wrote a screenwriting manual "just for kids."

Still, Christina Hamlett does not fall into the trap of dumbing down the material. Though aimed at high school students, she treats every aspect of the screenwriting process with the same sérieux one would use for a book aimed at the adult market. Indeed, it covers all the same topics (finding ideas, writing dialogue, structure, character, formatting etc.).

Differences are noticeable in the tone of the examples used, which are a bit more fanciful than usual, and in the exercises in each chapter, which are really designed for the classroom. As such, the book is probably even more valuable to teachers of a beginning screenwriting class for young adults than for the teen screenwriter himself.

The advice is good, with an interesting take on structure. There is a lot of information on getting an agent (perhaps a tad too optimistic here), as well as interviews with industry professionals to conclude each chapter (and the ageism issue gets referred to a lot, strangely enough). For those who remain cynical about the whole thing: the one 14-year-old writer interviewed here prefers Rashomon and Citizen Kane. So there may be hope yet.

This book fills an important niche for the ever increasing teen film market. It does so, however, with instructions and lessions that are valuable for all in the industry and for anyone who thinks an Academy Award winning screenplay is just a blank sheet of paper away. The author not only provides a very comprehensive guide to screenwriting, but also tests the motivation of the young writers and their fidelity to their craft.

This book is like the mentor every screenwriter longs to have, but rarely has the good luck to find. The idea of writing a screenplay is glamorous, yes, but none to easy to accomplish. I've been working as a screenwriter since my 20s, but I sure wish this book had been around when I first dreamed of writing movies. Christian Hamlett's book can tell you how to get started and how to successfully reach that longed-for goal, the final fade out. What a boon to young screenwriters just getting started! Christina Hamlett's book offers heaps of practical advice, and the interviews she includes provide the reader with additional voices of wisdom. I intend to recommend it to any teenager interested in creating a screenplay.

I fully endorse all the previous reviews of this book. ScreenteenWriters is excellently structured, full of everything a budding playwright would need to know (and not only a budding writer!) This book is extremely user friendly, and simple in its explanations of complex concepts. Definitely, A MUST BUY. Thank you, Christina Hamlett!

Author Joe McGinnis gives an inside view of the highly-controlled, thoroughly-packaged 1968 Presidential campaign of Richard Nixon. Readers see how the Nixon team made its political commercials and stage-managed campaign events in order to manipulate the public. Nixon had lost a close race eight years earlier to John F. Kennedy, in part because he'd looked haggard in his TV debate appearances. This time he and his handlers were determined that Nixon would be scrubbed and scripted while avoiding debates. In short, they peddled Nixon to voters the way corporations promote cars and cosmetics. Nixon had a huge advantage in money and thus television ad buys, and he went on to a narrow victory on Election Day over Democrat Hubert Humphrey. Ironically, Nixon's packaged 1968 effort seems amateurish compared with today's media-specialized, poll-driven campaigns. Consider that in 2004 President Bush used the secret service as his private Gestapo to illegally detain dissenters, and even his supporters had to sign contracts in order to attend his campaign rallies.

Some accused McGinnis of betraying Nixon with this book, a charge later leveled against him when he wrote the true-crime narrative FATAL VISION. Others argue that he did his job and let the public see an un-reported, dark side of politics. Whatever your view, this is a concise, informative, interesting look at political manipulation.

Somewhere in the second chapter of this splendid book, Leonard Hall, national Republican chairman said; "You sell your candidates and your programs the way a business sells its products." This succinct message captures the essence of Joe McGinniss and his book, "The Selling of the President."
The author explains how Richard Nixon is packaged and distributed to the American people by clever television professionals.

The marriage of politicians and advertising men first took place in 1956 when Dwight Eisenhower ran for re-election and selected the agency of Batton, Barto, Durstine and Osborn. McGinniss explains that the basic advertising concepts remained unchanged right up to 1968 but that Richard Nixon made every use of all the sophisticated technical advances of the day. Moreover, the author details how slick New York advertising men seduced voters which elevated them from the smoky parlors to the expensive suites with the political big shots.

Advertising executives allowed Nixon to dominate the airwaves. To this end, the television campaign allowed Nixon to get through the campaign with a dozen or so carefully worded responses that would cover all the problems of America in 1968. After a while it is rather clear that Richard Nixon is basically a boring man. However, with proper packaging Nixon soon represented competence, respect for tradition, serenity, faith that the American people were better than people anywhere else, and that all these problems others shouted about meant nothing in a land blessed with the tallest buildings, strongest armies, biggest factories, cutest children, and rosiest sunsets in the world.

I found the marriage of political and advertising minds fascinating. Of particular interest is how certain keywords such as conscientiousness, vigorous, party unifier, newness, glamour, humor, warmth could create a television facade to hide a candidate's blemishes. This is a great book and should be used in the classroom to show how television altered how politics and campaigns are orchestrated in the United States.

Bert Ruiz

Joe McGinniss joined the Nixon campaign as an observer, and wrote this book of connected stories. Nixon's team had a number of advertising and TV professionals. The book lacks and index and a table of contents. The cover shows Nixon's face on a pack of cigarettes - an apt metaphor. They are heavily advertised, and bad for you in the short and long run. People know this, but they buy them anyway!

Chapter 1 shows Nixon taping commercials for varied markets. "I pledge an all-out war against organized crime in this country." But investigations into organized crime was later halted. Chapter 2 tells us that politics, like advertising, is a con game! Both promise more than they deliver. McGinniss says Nixon lost in 1960 because the camera portrayed him clearly (p.32). I think the TV audience judge he was lying, the radio audience took him at his word. By 1968 Nixon learned how to act sincere. He would appear mellow, not intense; respected, if not loved (p.34). Page 36 explains how this works: saturated TV advertising showing the candidate and giving the desired impression, followed by public appearances where he doesn't say anything. TV would be controlled to transmit the best images (p.38). Chapter 3 tells about Harry Treleaven, who worked on the 1966 campaign for George Bush; he was elected because he was likeable, and none knew his stand on the issues. More people vote for emotional than logical reasons (p.45). Chapter 4 explains the power of TV. "The press doesn't matter anymore: (p.59). Painting Nixon as mellow was their way to overcome the old Nixon. Chapter 5 tells how the TV shows were staged for each region. Page 64 explains the politics for a panel of questioners. The selected audience applauded every answer. Chapter 6 says that if Nixon could not act warmer they would produce commercials that made him so!

Chapter 7 tells how a commercial would "create a Nixon image that was entirely independent of the words" (p.85). "The secret is in the juxtaposition" (p.88). (Was this parodied in that scene in "The Parallax View"?) Once complaint was of a picture of a soldier who had scrawled "LOVE" on his helmet; a new picture was found with a plain helmet. Later they received a letter from that soldier's mother - Mrs William Love (p.92)! Page 99 tells why you never saw a farmer on this show. Or a psychiatrist (p.100)! Chapter 9 gives an insider's view to the commercial images and what they meant. Chapter 10 tells of seeking Wallace voters with a ballad. Another trick was to be seen as a friend of Billy Graham. Chapter 11 tells of Nixon's shrinking lead. How could a slick production lose to a rough-edged show? Chapter 12 rates a Humphrey commercial as "contrived and tasteless" (p.138), but also "most effective" since it showed HHH as a real person in open air, not being kept in a TV studio. Chapter 13 explains how a TV show worked. People would call in with questions; these would be passed to the staff. They would be scrapped, and prepared questions and their answers used (p.149).

The Appendix contains various memos from the campaign; relevant extracts from "Understanding Media" and its analysis. Page 187 notes the good appeal of "reagan". Reagan's personal charisma is noted on plage 189. Pages 218-220 explain the benefits of print advertising over TV. Page 233 mentions the strategy of a challenger: the candidate stands for change (you assume what that means). These memos concern Nixon's run, but are applicable to other candidates today. How much has changed since 1968?

First off, let's get one thing straight: McGinniss infiltrated the Nixon Campaign, pure and simple. Not exactly what you'd call honorable journalism.

That said, "The Selling of the President" remains the definitive case study of the first sophisticated use of television in American Presidential Politics. Having worked in political public relations for three years, the characterizations and quotes ring completely true. While the public was dismayed by the widening morass in Vietnam, there's no denying the fact that Nixon's very astute use of the tube helped catapult him into the office he ultimately disgraced.

Yes, mass media image-building is now the politician's stock in trade: Willy talking boxers versus briefs, the Veep doing the Macarena, and George The Elder fumbling at the checkout counter.

"The Selling of the President 1968" is written in tough, punchy prose, and chillingly accurate. I'm certain The Founding Fathers would flinch.

Highly recommended as a continuing reality check.

Roger Ailes started out as a whiz kid producer in his twenties who was given the responsibility of producing a highly rated, popular, syndicated network television program, "The Mike Douglas Show." From there he moved on to politics, using the same kind of marketing routines that Madison Avenue gurus employ in the cases of super market commodities. Joe McGinniss managed to sneak aboard the Nixon for President campaign without having his main purpose discovered, that of writing up what he observed. Had Ailes or any of his underlings known, McGinniss would assuredly have been instantly dismissed. Had candidate Nixon ever learned the response would, almost assuredly, have been apoplectic, given Nixon's all-consuming hatred for reporters of anything but a fawning bent.

The book is humorous in many respects, while the overall result of the effort reported, selling a candidate who would ultimately become the only U.S. president to resign in disgrace, is anything but funny. "The Selling of the President" gives us an indication of how far we have plummeted in presidential campaigns where spin control dominates over critical substance. For instance, just twenty years after Nixon's 1968 victory over Hubert Humphrey, George Bush was elected by exploiting the American flag and a Massachusetts rapist named Willie Horton. The 1984 campaign of President Ronald Reagan stressed the theme of "Morning in America" despite prolific evidence that the temporary prosperity proudly exploited resulted from a credit card spending effect linked to an irresponsible tax cut which ultimately left America in serious debt.

The ultimate value of McGinniss' book is learning just how cynically Ailes and the spin control brigade seeks to manipulate American voters. To readers of George Orwell the pattern will contain a distinctly familiar ring.

William Hare

This book provides a ton of images from the sets of our favorite sitcoms. I was surprised to find some of the sets from shows I'd completely forgotten about (Murphy Brown) that had gorgeous sets.

My one complaint would be that some of the articles reference items on the set that aren't pictured. The Will & Grace designer refers to a painting that isn't shown in the book, but is featured on the set.

That aside--this is a great buy. I keep it on my coffee table by the remotes as a conversation piece.

I absolutely love this book!! If you are a TV fanatic like me you will like this book too. It shows you different sitcom homes and the decor and talks about how they are decorated and gives you pointers if you want to decorate the same way.

This book was well stocked with information on not only how these imaginative places were decorated but also where to purchase them in reality. I have sometimes saw an item on TV and wondered where it could be found and this book tells you. It is definately a read more than once book. I thouroughly enjoyed this book.

Overall, the book is good and gives access to information and pictures you cannot find anywhere else. However, I expected more pictures and less text. Pity that some of sitcoms mentioned were not illustrated at all. I bought this book specifically to get decent pictures of Frasier's filming set but was disappointed - the set is so fabulous it almost deserves a separate book on itself, and all it got was a couple of less than perfect photos.

Sitcom Style provides an in-depth look at the process, styles and techniques utilized by set designers to make the unknown television character immediately familiar to the television audience. The book strikes a perfect balance between trivia on some of the most famous pieces of furniture ever seen on television, such as Archie Bunker's chair, and close ups of the actual technical diagrams used by television producers.

Ms. Friedman's lucid explanations on the relationship between a television character's projected personality and a set designers choice of furniture and layout, provides valuable insight into the design of any living space. Detailed deconstructions of various sets, such as the open layout of Frasier's sophisticated living room or the use of a club chair to project the assured confidence of Murphy Brown, end up being valuable guides in how to project your own sense of character in your personal living space. The inclusion of a buying guide at the end of the book with accompanying websites and phone numbers is helpful as well.

While the book already does a great job of providing decorative insight along with television history, one would hope the author would do another book with even more home decoration tips. My only detraction would be the failure to examine some of the more popular canine abodes on television.

Strongly suggested as a holiday gift to anyone who enjoys television history and trivia, home decoration and style, or both!

I wish a bit more info had been given on the site, but it was in pretty good condition considering it was 10 years old

Although clearly a labour of love by the author, this is also an entirely professionally written and produced book. Perhaps wisely, it doesn't set out to be a comprehensive, definitive guide to film music composers and their recordings - this would have been impractical both in terms of the writing and the eventual weight of the tome! But what Jon Burlingame has done is to include a mini-biography of just about every important film music composer there has been up to the present day, plus a selection of what he considers to be their best works. This provides both an invaluable reference guide not only to composers but also an interesting debating point as to which of their scores should have been included.

It was pleasing to see a large number of photos of the composers and some record sleeve reproductions. Many potential readers will doubtless be familiar with the likes of John Williams, John Barry, Henry Mancini and Elmer Bernstein, but they'll also get the opportunity to see some 'golden age' composers, like Miklos Rozsa, Alfred Newman, Dimitri Tiomkin and Franz Waxman, as well as relatively unsung heroes such as John Scott, Christopher Young and Rachel Portman, and those more associated with classical music, such as Ralph Vaughan Williams, Sergei Prokofiev and Dmitri Shostakovich.

The author's enthusiasm for the subject is very apparent and no stone has been left unturned in order to ensure this book becomes an essential purchase for all lovers of film music. An excellent effort, which is thoroughly recommended, not just to film music aficionados, but also to anybody with an interest in the cinema.

This is a wonderful book. It's lovingly researched and was obviously put together by someone who cares about film music. It's recommended for reference and pleasure alike. Plus, the book has the courage to discriminate---we don't waste our time reading about plagiarists,..... who are not included at all.

Jon Burlingame is nothing short of a hero to many film composers, because in addition to the astounding depth of his knowledge about composers and their work, he shares a tremendous passion for what they do and effortlessly conveys that to his readers. "Sound and Vision" is an essential book for anyone interested in film music, not only because it contains fascinating information that can't be found anywhere else, but because it's written by a greatly respected and dedicated journalist whose enthusiasm for his subject is unparalleled.

In Sound And Vision: 60 Years Of Motion Picture Soundtracks, Jon Burlingame has created an indispensable, seminal, very highly recommended reference guide featuring a detailed history of Hollywood film music on record and compact disc. Also included are up-to-date biographical sketches of soundtrack composers from the inception of the movies down to the present day. Annotated listings of the best-selling, award-winning, or otherwise memorable soundtracks of the past and present (original film scores as well as movie musicals and song-compilation scores) further enhance this marvelous compendium. Of special note is the "user friendly" and comprehensive index so that the reader can quickly reference whether a particular piece of movie music is commercially available.

Calendar was in stellar condition, exactly as described. I highly recommend it to any fan of the oridional series.

This calendar is really fantastic. The pictures are great! Also, it features important dates/birthdays pertaining to the Original Series cast! The font of the calendar is in line with the Star Trek font. This is a great gift for that serious Star Trek Fan! Highly recommend it!

I look forward to the annual classic Star Trek wall calendar. This year was no exception. The pictures are full of color with clean, crisp images. The vibrant colors that classic Trek was famous for come shining through. Nice to liven up any room or to keep as a collectible.

it was a bit banged up when it arrived, but I feel it was no fault of the company that sent it, just the post office which mangles everything. So, over all, the company was prompt in shipping, and made every effort to send it so it wouldn't get bent.

It's been a few years since we last bought one of the Star Trek wall calendars. It's good to have one again. We prefer the original series calendars to the more recent sequels and to the "Ships of the Line." Overall size of the calendar is more than adequate and color photos are great. This year's (2008) version has shots from the original TV series, starring William Shatner, Leonard Nimoy, and the late DeForest Kelley. We believe each of the first three years of the series are represented. The calendar also has two months with photos from the Star Trek movies, "Wrath of Khan" and "Search for Spock." Key dates related to the series, stars, and international holidays are included. Finally, there's a centerfold of the original starship Enterprise, with a space station floating in the distance. Quite well done.

The book contains some details about mcQueen's life that only the writer knew , that give a hint about how mcQueen viewed life, danger, and speed.
but the photos are mainly advertising ones and not real life.
i would expect more on the life of mcqueen as a person and not only as an actor

A wonderful work of art that captures what made Steve so charismatic and appealing. It leaves you wishing you could see more from other periods in his life. This is a book I will treasure all my life. Thank you Amazon, I would have paid ten times as much for this book. God Rest His Soul.

According to his foreward to this book, the photographer William Claxton met Steve McQueen in 1962 when McQueen was starring with Natalie Woods in LOVE WITH THE PROPER STRANGER. The two men formed a friendship and apparently Mr. Claxton became Mr. McQueen's favorite and most requested photographer. This book of wonderful photographs, covering a couple of years in Mr. McQueen's life from 1962 to 1964, is a result of that brief friendship. Most of the pictures appear to be shot in available light and have a wonderful, informal spontaneity about them impossible to capture in formal portraiture. Both the photographer and subject are comnpletely without pretention.

Mr. Claxton caught Mr. McQueen smiling, clowning and pensive. There are photographs of McQueen in fast cars as well as on motorcycles. Many of the shots were done while Mr. McQueen was working on movies. There are also many pictures of him with family and friends. Most of the shots are in black and white with a few in color. Every time I look at them I find yet another photograph that I think is the best in the book. There is a haunting shot of McQueen with his young daughter where the child, sitting on the floor and resting on her arms, looks into Claxton's camera. We only see her father's legs and feet. (p. 79) Another great shot appears on page 73. McQueen is embracing the family cat. Finally, there's a shot of McQueen lying on a blanket in a large field. His profile is beautifully backlit. Both photographs selected for the front and back covers are fine, informal portraits as well.

This book made me remember how much I enjoyed Steve McQueen's movies and made me sad that he is no longer among us.

A great book, considering it is of a short period in Steve McQueen's life. This is him in his prime captured by a great photographer.

Very comprehensive. Show's a different side of the rough and tumble character known as Steve McQueen. Very entertaining.

Supernatural: The Official Companion Season 2 I love anything to do with Supernatural. I've watched the show from the beginning and this companion book reviews the season and adds interesting tidbits about the cast and writers.

This book and the Season 1 companion are both great books for fans of the show. With tidbits from the creator, writers, actors, and those behind the scenes, there's plenty to read and new things to discover.

The Season 2 companion to Supernatural is a nice way to check back on certain developments you may have forgotten about different episodes and the characters. I also own Season 1 and plan to buy Season 3 - it's great to read about the behind the scenes goings on and how the cast and crew work around any drawbacks that occur.

I love Supernatural. Anything Supernatural gets an automatic 5 million in my book. I love the extra detail included in each companion that gives more facts on the creatures and the explanation as to why the writters decided to make the brothers go after them. Dean and Sam are the BEST!

This is an awesome book to have for fans of Supernatural!! I highly recommend it.