Television Books
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Good EpisodesReview Date: 2003-09-28
Awesome, Great, Spectacular, Fabulous, Except One Thing...!!Review Date: 2003-08-29
Possibly even better than the scripts that preceded theseReview Date: 2003-11-22
?Lie to Me? was written by Joss Whedon, and as fine as many previous shows had been, it is one of the first truly great moments in the series. Billy Fordham, played by Jason Behr (who would shortly after this achieve television stardom playing an alien in ROSEWELL), an ex-boyfriend of Buffy?s from L.A., shows up unexpectedly in Sunnydale. Eventually we learn that he is, in fact, dying, and has cut a deal with Spike and his crew to turn the Slayer over to them in exchange for being made a vampire. The episode has many funny moments (such as when Angel, Xander, and Willow go to a faux vampire club, and Angel remarks that none of them know anything about vampires, including how they dress, when a wannabe walks by dressed exactly like Angel), but even more poignant moments, like when Ford explains to Buffy his reasons for betraying her.
?The Dark Age? was written by Dean Batali and Rob DesHotel, who co-wrote a number a number of episodes of Buffy during the first two seasons. This is the best script they produced. Ethan Rayne, to whom we were introduced in ?Halloween,? makes his second appearance in the series. By far the most interesting aspect of the show is the way that we manage to learn more about Giles background, all the way to learning that his former mates had called him ?Ripper.? I enjoyed the few episodes that featured Ethan Rayne, and was always perplexed that he appeared in only four shows??Halloween? and this episode in Season Two, ?Band Candy? in Season Three, and ?A New Man? in Season Four. There was talk on a couple of occasions of Anthony Stewart Head doing a show set in England based on ?Ripper,? and if he had, I?m sure Robin Sachs would have been his ?Lex Luthor.?
?What?s My Line?? is a phenomenal two parter, and is notable not merely for introducing Kendra, the second slayer, but for the writing debut of the great Marti Noxon, who would become one of the greatest writers in the run of the show as well as co-executive producer, eventually running things when Joss Whedon ceased the day-to-day overseeing of the show. She co-wrote the first half with Howard Gordon, and then wrote the second by herself. One of the major themes of Buffy during the first two seasons was her hesitancy to embrace her calling as slayer. Although she wouldn?t fully accept the role until the first show of the third season (?Anne?), these two episodes stress her reluctance to be the Slayer more than any other shows prior to them (and even after ?Anne,? although she has accepted who she is, she struggles against her fate). These are exceptionally well-written shows, and one can engage in endless discussion the Kendra/Buffy relationship. Kendra, unlike Buffy, has completely accepted her fate, and while Buffy can never be like Kendra, she does learn from her to accept her calling.
?Ted? (written by David Greenwalt and Joss Whedon) is not as strong on paper as it ended up being onscreen. Although it is a first rate script, John Ritter absolutely nailed the part of the psychotic robot Ted, and turned in one of the most memorable guest appearances in the entire history of the show. This is the episode that contains Giles famous quote about subtext rapidly becoming text. No other show in the history of TV has ever contained lines as clever as that one.
?Bad Eggs? was Marti Noxon?s third contribution to the show, and unfortunately perhaps the weakest script she ever did. One of the most amazing thing about the Second Season is that while the strong episodes established it as one of the great shows in the history of television, it nonetheless had a surprising number of pretty rotten episodes. Also, some of the strongest shows are preceded by the weakest. Just as ?Becoming? would later be preceded by ?Go Fish,? so ?Surprise? is preceded by ?Bad Eggs.? This might be an accident, but I doubt it. I suspect they realized it was a weak script, and wrapped the season-long story arcs around it. After this season, each season had considerably fewer weak episodes.
These six scripts show Buffy, which was already a very good show, in the process of becoming a great one. The scripts that immediately follow the ones in this collection are arguably as strong a group of scripts as any show in the history of television.
My ReviewReview Date: 2001-12-16
This book chronicles the first arrival of Spike, whom is now an important character. It also has "Halloween" which includes some funny stage directions from Joss Whedon.
If you haven't seen the beginning of the second season of Buffy or if you want in-depth information on the episodes' scripts, you should definately buy this book.
Great Buffy ScriptReview Date: 2002-03-04
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ExcellentReview Date: 2008-05-25
What happened in Cambodia, unfortunately, did not matter as much as it should have at the time. And this is the crux of what this book is about, for it mattered then, and it matters now, and will always matter. Books like this remind us.
Wow, still in print!!! A Masterpiece!Review Date: 2007-04-11
The parallel construction of the two stories, the Cambodian genocide and the assault on communication and community by our homogenizing consumer culture and thought-deadening media is audacious and brilliant.
This book is a disturbing, inspiring and challenging. For those who would like to follow the workings of an eclectic passionate intellect grappling with the deepest roots of the disease eating away modern North American culture, this is the book for you.
Way ahead of his time and tuned into visions of the future that were intimated by the state of the world in the 1980's, Fawcett's vision anticipates the rise of George W. Bush, with his renditions, his suspension of habeus corpus, Guantanamo and the primary role of his maintream media to erase history in service of the fantasies of those who would seek to dehumanize all who deviate from the True Path.
Brian Fawcett warned us about it twenty years ago. This book is perhaps more relevant now than when it was written.
Universal chickenReview Date: 2003-01-19
The End Of Human Existence and ThoughtReview Date: 2000-11-25
a very important, very understandable, very brilliant bookReview Date: 1999-03-11
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perfect book for my 30-month old nephewReview Date: 2008-03-23
Elmo's Wonderful Trip Back to Sesame StreetReview Date: 2001-03-09
The book opens with Elmo surrounded by books.
"Elmo likes books."
"Fat books. Funny books. Bat books. Bunny books. Bear-in-the-chair books. Kite-in-the-air books."
With this beginning, the story quickly takes Elmo on a wonderful kite adventure. I liked this approach very much because it shows how books can be the launching pad for many interesting thoughts and experiences. Further, you can use your imagination to build on what's in the books. The bulk of the story then involves what happens when Elmo's kite pulls him off the ground and into the air. How will he get back to Sesame Street?
By suggesting that this could be a pretend adventure, it also takes the potential fright out of the story for many children. If your child is easily upset by danger, you may want to wait until she or he can be more objective before introducing this story.
In the course of the adventure, many strange and unexpected things occur. But Elmo is always flexible and imaginative. As a result, the results of challenges turn out well. You can use this story as a metaphor for how life tends to be in talking with your child. We all have to realize that the unexpected is usually just around the corner.
After you have read the book several times, encourage your child to read the repeated words like "books" aloud when they appear. This will help with decoding words and letters. Like many excellent beginning readers, this book features lots of that valuable repetition. There are a number of situations where only one letter is different (as in "there" and "where"). When your child is ready, help him or her to differentiate between them and to then read the two aloud to you when they appear in the story.
Build reading skill through repetition within the context of an interesting and entertaining story like this one!
Great BookReview Date: 2002-04-12
Fun for all agesReview Date: 2000-06-02
Elmo and the Kite!Review Date: 2004-12-16
This adorable learning book opens with Elmo surrounded by many books and we read one statement on the first page.
"Elmo likes books."
He then goes on to tell us what kind of books he likes,
"Fat books. Funny books. Bat books. Bunny books. Bear-in-the-chair books. Kite-in-the-air books."
This is great, as it shows children books are wonderful and since Elmo likes books, just maybe they should like them as well. Good beginning.
Elmo decides to go fly a kite, but when the kite takes him up in the air, the adventure begins. How will he get back to Sesame Street? Elmo looks up and down and what does he see? Finally Elmo lands in the back of the truck and meets many wonderful characters, and shows his imagination in the events that follow on his journey back to Sesame Street.
Great illustrations and an adventerous read.One your children will enjoy over and over again.
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We're Hunting for Gold!Review Date: 2002-06-12
We're Hunting for Gold!Review Date: 2002-06-12
We're Hunting for Gold!Review Date: 2002-06-13
An adorable and funny book for Rugrats fans.Review Date: 2001-06-26
Very adventurous and funny!Review Date: 2001-06-26
Reality TV satireReview Date: 2005-03-27
Arch paranoid survivalist Ryan is bound and determined with the help of her trusty sidekick "Tiffany the knife" to win enough moola to outfit her backwoods retreat with the finest security a government-suspecting person could buy. Her only threat comes in the very delectable shape of Shannon,the former assistant to the network's president of programming and now network mole. Seems Shannon has hot-wired Ryan's brain to lust mode. Throw in a bitchy producer, a Latin haridresser queen, macho builder, veterinarian, buff boy, professor, minister, farm girl, fashion model and several other stereotypes, you have the makings for one tearfully funny nightmare contest.
No stereotype is left unskewered and every hyberbole is used to its fullest. This is one heckuva romp through the worst case scenario of a show gone awry. Absolutely a re-read favorite of mine and great pick-me-up on a rainy day.
Wickedly Funny!Review Date: 2007-01-01
extreme hilarityReview Date: 2003-12-03
Hilarious!Review Date: 2003-09-05
Hysterical parody of the Survivor seriesReview Date: 2003-09-08
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Ives, the Bucky Fuller of American music!Review Date: 2002-03-17
Ives' great successes all came together, early in life, following his marriage. He composed on the side as he built his company, burning the candle at both ends. Swafford speculates that Ives was literally manic during those heroic years of the Teens, and that he subsequently crashed, enduring more depression than mania for the rest of his life. Interestingly, the Great War was such a blow to his idealism, he reacted physically, compounding his collapse. Ives retired very young, but rather than turn to composing, he found that he was unable. The rest of his life was devoted to trying to find an audience for the works of his glory years. I found the book most interesting here, in situating Ives in relation to the more well-known Modernists of his time -- Schoenberg, Stravinsky, Varese and the others. The irony is that while Ives' music came about independently, it was "popularized," only through association with the European revolutionaries, and so he was widely perceived as an imitator. The world was only ready for Charlie's music after the ground had been broken! The story of Cowell, Slonimsky, Carter, Gilman and Bernstein, who championed Ives over many years until he was finally recognized, is fascinating.
This is supremely enjoyable reading. Jan Swafford clearly loves Ives, and I found his account irresistable.
A Great American Composer Brought to LifeReview Date: 2003-05-12
Ives was born in Danbury, Connecticut and remained throughout his life attached to his vision of the post-Civil War small-town New England of his childhood. His father, George Ives, was a bandmaster and the greatest influence on Ives's life. Ives was a musical prodigy who began composing at an early age, quickly picking up experimental styles. He showed great proficiency at the piano and organ. (Through young manhood, we worked Sundays as a church organist.) He studied music at Yale where his teacher was Horatio Parker, a then famous American who was trained in the music of German Romanticism. As a college student, Ives wrote music played for the inaugaration of President William McKinley.
After graduation from Yale, Ives became a millionare in the insurance industry where he pioneered many marketing techniques. He also became increasingly Progessive and politically active and actually proposed a constitutional amendment which would increase the power of the democracy in government decision-making. At the age of 32, he married Harmony Twitchell who, after his father, was the greatest influence on his life.
Ives wrote music in the midst of an extraordinarily busy life. Most people think of Ives as a trailblazer and iconoclast. He was indeed, but may of his earlier works, such as the Second and the Third Symphonies are easily accessible and have a feel of America about them similar to the feelings Aaron Copland evoked some three decades later.
Jan Swafford's biography movingly and eloquently describes the life of Charles Ives. This is a reflective, thoughtful discussion of Ives, his America, his music, and its reception. In addition to a thorough treatment of Ives' life and works, Swafford has three chapters which he titles "Entra'acets" which consist of broad-based reflections on Ives's music and its significance. Swafford's entire book is full of ideas which are intriguing in themselves. Of Ives's work, Swafford gives his most extended treatment to the Fourth Symphony (he sees Ives as essentially a symphonist) and to the Concord piano Sonata. But many works are discussed in detail which will be accessible to the non-musician. The book has copious and highly substantive footnotes and an extensive bibliography.
Ives's Americanness, humor, romanticism, modernism, optimism, and generosity ( Ives gave large amounts of money to his family and to musicians and music publications. He also paid for the publication of several of his important works when commercial publishers showed no interest in them.) come through well. Swafford sees Ives as the last American transcendentalist in the tradition of Emerson. At the conclusion of his book, Swafford writes of Ives (p. 434)
" [I]n his music and his life he embodied a
genuine pluralism, a wholeness beneath diversity, that in itself is a beacon for democracy and its art. Aesthetically he
is an alternative to Modernism, an exploratory road without the darkness and despair of the twentieth century. In spirit
he handed us a baton and calls on us to carry it further. He suggests a way out of despair, but leaves it to us to find the
route for ourselves. If we are alone with ourselves today, Ives speaks incomparably to that condition."
This
book made me want to learn more about and to hear the music of Charles Ives. In its own right, it is a joy and an inspiration
to read.
A high-water mark in musical biographies.Review Date: 2001-07-16
In his early years, Ives was a one-man dynamo. Learning much of his music theory and practice from his father George Ives, who had been a very young (perhaps the youngest) Civil War band leader, and then from Horatio Parker at Yale University, he had more than a "thorough grounding" in the basics. However, unlike most American composers, particularly those of his and the following generation, he did not go to Europe for a post-grad internship with any known European composer, but simply set out on his own after matriculating from Yale. He went to New York City, employed as an insurance clerk for one full-time job, wrote music constantly for another full-time job, and had yet another career, had he wanted it, as organist and choir director for the Central Presbyterian Church in New York. During this period - leading up to his marriage in 1908 - he literally burned the candle at both ends. (Swafford goes on, later in the book, to posit why Charlie had this incredible burst of energy for the first 15 or 20 years of his adult life, but it's best that his reasons for this - and for Ives's shortened composing career - be left to you, the potential reader.)
Most anyone who knows anything about Ives knows that he became comfortably wealthy in the insurance industry, that during his active composing days little of his music was played by anyone, and that he was - literally and figuratively - burned out by the time he was only 40. For the remaining half of his life, much of it was spent editing, publishing and promoting his music and the music of others, including many friends, using the proceeds from his insurance success to underwrite projects for many composers who would have gone unnoted had it not been for him. Musical success - unlike business success - came too late in life for him to truly enjoy at least its artistic, if not financial, rewards. He was in his last years when Leonard Bernstein premiered his Second Symphony, and never lived to hear his masterpiece - his Fourth Symphony - premiered by Leopold Stokowski in 1965. Despite this, he was far from an unhappy man in his later years; philosophically resigned yet optimistic that his day might yet come would be the more accurate description.
Swafford's writing is simply wonderful. It tells the story of a true American iconoclast; an "original." The narrative flows beautifully without omitting anything of significance in Ives's life or about his music. (The book contains nearly 80 pages of endnotes, in which the musical marginalia are explained in exhaustive, but emminently readable, detail, to preserve the flow of the main narrative.) In parts, it is incredibly moving. I particularly enjoyed the extended "mating dance" of his courting of Harmony Twichell, who was to become his life-long helpmate (and who did live long enough to attend the Stokowski premiere of his masterpiece, as the guest of honor). Ives, ever the Victorian man if something else as a composer, would always refer to her, to third parties, as "Mrs. Ives." Yet their fifty years together could be a model for today's dysfunctional families. A beautiful chapter; one of the best in the book.
There's a curiously cryptic endnote that suggests a "what might have been." It is a fact that very little of Ives's music saw public performance before the early 30's, when Nicholas Slonimsky championed Ives and other "moderns." Yet another two decades were to pass until Bernstein premiered the Second Symphony. Yet, in 1910, while shopping in a music store in preparation for his final return to Vienna, where he would die in less than a year's time, Gustav Mahler purchased a fair copy - one of only two or three in existence - of Ives's Third Symphony. Swafford doesn't make that big a deal about this, but I do. I've always thought that Ives and Mahler, aside from being near-contemporaries, had more in common than they did in opposition. It is just conjecture - but truly fascinating conjecture - to think what might have happened had Mahler premiered Ives's Third Symphony at a time in the life of Ives when it really might have made a difference.
Just what was Ives, as a composer? Bernstein did him no favors by calling him "a primitive; a Grandma Moses of music" while at the same time championing his music. Back in those days, there were no labels like "atonalist," "serialist," "avant-gardist," "post-modernist," what-have-you, that we tend to use today to compartmentalize a composer. To me, Ives was, well... an iconoclast, an "original," and, if a label must be applied, our first "pre-post-modern." He was never imitated, at least not successfully, not only because he didn't have his own students as did other composers, but because by the time his music enjoyed sufficient - if not plentiful - performances, composers' agendas were different.
Fortunately audiences think differently, and do enjoy Charlie's music. And you will enjoy this book.
Bob Zeidler
Accessible tale of a musical maverick with a business headReview Date: 1998-07-09
Great combination of erudition and accessibilityReview Date: 1996-11-15
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AVID COOKBOOK READERReview Date: 2003-12-11
Great BookReview Date: 2003-09-02
Delicious!Review Date: 2003-09-16
Chefs Afield cookbook & TV series spectaularReview Date: 2003-09-01
Great Philosphies, Decent DishesReview Date: 2004-11-19
The idea is awesome in its purpose, design, and goal, but I think it falls somewhat short in execution. I think that's true both for the show and the book. Some of the dishes just aren't that great. Certainly not groundbreaking. The chefs are good, but not outstanding. There are, however, a few stand-out highlights. Anne Quatrano and Rick Moonen are a couple of my favorites, but overall, I'd love to see other chefs that have adopted this important philosophy. It seems Keller and Waters would have fit this bill perfectly, though maybe they're too big for the series.
In all it is a nice cookbook with an important message, but as a collection of recipes, there is a mountain of better choices out there including the entire library of Chez Panisse books which all embrace the culinary values from the Chefs A'Field series.
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Banat and Saint-GeorgesReview Date: 2007-06-17
An in-depth study of a singularly remarkable musician, politician, and fighterReview Date: 2006-08-09
Le Chevalier de Saint-GeorgesReview Date: 2006-07-27
Banat, a retired violinist from the New York Philharmonic and a specialist on the violin works of Mozart, is ideally positioned to understand the significance of this historical figure. It turns out that Le Chevalier was a major contributor to the symphony concertante genre, until recently thought to be Mozart's creation. As a musician, Le Chevalier was a violinist and composer, mastering the classical style and creating multiple compositions for orchestra and violin that remain underrepresented in the academic and performance Canon today.
Not only a prominent musician and athlete of his day, Le Chevalier was one of several African descendants who made important contributions to European elite culture. Born in Guadeloupe to a French plantation owner and his enslaved mother, Le Chevalier was educated in France, with substantial periods in England, where he was a champion fencer. In the latter part of his life, Le Chevalier became highly involved in the Haitian Revolution.
Mr. Banat began his study on Le Chevalier with an original article from the 1980s. Twenty years later, Banat's recent book reflects his dedication and enthusiasm toward his subject matter. The extensive documentation he provides for his assertions makes him the authority on Le Chevalier de Saint-Georges.
The Chevalier shines again--Review Date: 2006-09-02
The sad, powerful tale of this romantic hero's life and genius is all movingly here in Banat's scrupulous research and genuine affection--just waiting for an intrepid director and a first-rate actor to make a brilliant film that would really speak to our time.
Chevalier extraordinaireReview Date: 2006-06-16
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Oh, How I wish Sven was Syndicated in St. Louis!Review Date: 2008-03-24
So, I had to get this book. It is a quick read (nearly half is just a list of b-grade movies) and tells the tale of how Svengoolie came to be and where the whole thing started. If you are a fan of Svengoolie you owe it to yourself to take this fun trip down memory lane, or elm street...whichever.
A gift for my Svengoolie lovin boyfriendReview Date: 2008-01-25
Well researched and fun to readReview Date: 2008-04-24
Some folks might question why there's an entire appendix devoted to a "100 Monster Movies" rating guide, but to me it's one of the most enjoyable sections of the book because it goes hand-in-hand with the overall history of this subject. How can you discuss monster movie programming without discussing the monster movies themselves? If anything, I wish they'd gone a step further and covered even MORE titles. A few of my favorite films were overlooked. Am I the only one who has fond memories of CREATION OF THE HUMANOIDS? (Maybe I am.)
The book is well researched, fun to read, and has lots of wonderful photos and graphics. It makes me sorry that I missed out on all the fun. But then again, I didn't. No matter where you grew up, watching monster movies on television was a universal experience. This book captures that experience beautifully.
A necessary volume for Chicago TV history, horror and Svengoolie buffsReview Date: 2007-12-22
As a child and into my teens watching Creature Features on Channel Nine (the opening as a six year old terrified me), and then the Son of Svengoolie on WFLD, I loved local tv. Why do I say this? Simply put - I had high expectations for this book. The good news is that Ted Okuda and Mark Yurkiw exceeded them.
Looking for Elvira - you won't find her - but "Dear" clearly was a feast for the eyes. Now I finally know what my dad was talking about.
"From Shock Theatre to Svengoolie" is a needed part of the history of Chicago TV and Lake Claremont Press respectfully published a book others might take a pass on and remains a respected leader in local publishing of Chicago history. Well edited, designed and expanded in part by a solid and varied reference section which includes a solid list of films shown (and reviews), a heartfelt "Collector's Corner" with additional reviews, and a resource guide on where to find your horror needs - that alone would stand to qualify the book as a great resource; but yes - there's more.
The book is factual and warm about the subjects themselves - with wonderful chapters on characters such as Marvin and the curvacious and faceless "Dear" of Shock Theatre to Jerry Bishops "Svengoolie" concluding with the story of how Rich Koz's "Son of Svengoolie" became "Svengoolie" in his own right.
The book doesnt mince words. The Ghoul from Cleveland gets a chapter - and in that chapters lies the great story of the loyality of Chicago to it's city and to its broadcasters. That chapter alone made me smile - unfortuantely at an outsiders expense.
The book covers some obscure local attempts to compete against established programs as well - which goes to the detail the authors provided.
And then there was Sven.
While you can watch Jerry Bishop and Rich Koz on YouTube as Sven as a resource; the chapters on Svengoolie are detailed and worth the read.
I grew up and continue to watch Rich Koz as Svengoolie now in Chicago - and through this book you realize Sven's program not only entertains through horror but is also the last of the real local efforts to fight to keep local television creative, relevant and accessible. Koz is an important throwback to Garaway and other early Chicago broadcasters and deserves the praise and critical rsearch the book compiled.
In this book you can see why Koz is important as a local celebrity - and is up there with dare I say Studs Terkel and Oprah as important local personalities - even though Koz would likely deny this endorsement. WCIU should be credited for keeping a great program such as Sven on the air when others might just put an episode of "Night Court" on instead...yeech.
I particularly enjoyed the attention to detail; with photos of the old newspaper and TV Guide advertisements of the programs. If you loved those programs as a child - before there were so many options on cable; those ads were critical in promoting the programs and the movies we grew to love.
The book is lavishly illustrated and well written and referenced, footnoted and resourced. Time, effort and true affection for the material went into this tome.
In a book like this - there is room to be melancholy - and the authors avoid that trap. Lamenting on the fact local television is in most cases just the news; and all of TV's creativity is left to the networks would be an easy place to go - but the book is upbeat and most importantly a joy to read.
You want Creature Features? The book has it. Marvin and Dear - yep; its here too. Screaming Yellow Theatre and all of Sven? Yep - that too.
Clearly highly recommended.
I would write more - but my family is ready, the popcorn is popped and Svengoolie awaits .....
A must for any REAL horror fanReview Date: 2007-12-20
What an outrageous life!Review Date: 1999-11-03
SImply superbReview Date: 1999-07-21
A must for any real hard-rock fan !Review Date: 1998-06-25
A must for fans of Deep Purple, and all of Gillan's work.Review Date: 1997-07-11
Regarded by many as one of the greatest rock singers of all time -- this book details the life and times of Ian Gillan, best known as the lead singer for Deep Purple. Many will also remember him as the voice of Jesus on the original recording of the rock opera "Jesus Christ Superstar".
The book is a biography, written by David Cohen, with facts obtained from Ian himself. It gives insight into the clashes within the Deep Purple clan, and how Gillan went on to a successful solo career (only to return to the Purple camp he loved so well).
It's the world of rock and roll as seen through the eyes of one of its most witty and talented players.
An excellent bio of Deep Purple's outrageous lead singerReview Date: 1997-12-16
The incredible story of Ian Gillan, one of hard rock's greatest and most influential vocalists. Ian offers up many an outrageous tale of the life of a rock star, beginning with his childhood to the start of his third stint with Deep Purple in 1993.
The writing is witty and quick-paced and seemingly quite honest, as Ian relates freely both his triumphs and failures as a solo artist and as a member of such classic hard rock outfits as Deep Purple and Black Sabbath.
I highly recommend this for any fan of Ian, Deep Purple, or of hard rock/heavy metal in general.
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Its been about 3 months and my script book is starting to curl at the ends. :( But thats alright because its still in good condition .... I dont know why I'm telling you this ...
If you love to act this is for you!! This is ALL SCRIPT!! Unlike, Once More With Feeling -- this is a bit of a better buy. :)