Television Books

EnThe Story of Johnny Cash Eaton...: Moments Remembered...His Story As Told to Me...j

Very interesting

Greetings. May I congratulate you for finding your way to this book and to these few words.

This title, I STILL MISS SOMEONE, if from one of my favorite Cash-penned songs and the book was/is published by a very small mom/pop outfit in Nashville. They (the publisher) have no promotion or marketing or publicity savy, to speak of when promoting a book like this, so it has just layed here in obscurity.

This book, although it contains the input of over forty close Cash associates and a foreword by the Grahams (Ruth and Rev. Billy), has NEVER been reviewed by any press. In fact, the Nashville media didn't even give it one line. Small publishers suffer this snub, and in the end, so did this tribute book. Lost in the larger shuffle of all things Johnny Cash.

The only folks that know about this book are folks like you, that have searched, surfed and stumbled across it or maybe found it after hearing about it word-of-mouth.

To the point, if you get this book, I STILL MISS SOMEONE, and are not moved by it, touched by it, or feel it is more than worth the price, I will personally refund your purchase price. (hughwaddell@comcast.net)

Yes, I believe in this book with all my heart and soul!!!! In the few interviews about the book that happened last year (2005), I stated the same challenge, and have not been asked to refund one dime, yet. In spite of all the review snubs, the book stands on its own simple merit.

So screw the tiny publisher, the snubby-dub media and the self-serving Nashville "pompasses". This book does not need to be hyped or pumped by critics, anyway. I swear to you that you will enjoy this look at Johnny the Cash through the eyes and hearts of people who knew him best... his friends and family.

Thank you and God Bless!

All of us who followed the music and life of Johnny Cash;knew from the beginning of his musical career in the laste 50's that there was something special about this man. He came to most of us by his music and shows but we always knew he was a man who first of all knew and loved his God. The name Pilgrim was often associated with him;but the name Disciple would be just as fitting. I have followed ,listened to and read about him for about 50 years,but I can honestly say that the real truth about what Johnny Cash was really like is not any better shown than in this book. How he was seen and loved by those who really knew him,loved him,worked with him,family members,and people who considered him a friend and at the same time he considered a friend. Over 40 people got the honor to say what Johnny meant to them and what kind of a man and friend he was. One thing that is obvious from reading this book of over 300 pages and over 40 people,is that there must be thousands of others that knew him as well and if they had the same opportunity would have similar things to say.
It is so obvious Johnny loved life ,how much his family meant to him,and how much he respected those around the music business. If anyone in the public arena ever gave the impression that as he journeyed throuh life;his friend and Savior Jesus Christ was always by his side;it had to be him.
Millions of us admired Cash;but what a privilege it must have been to have been close to him. No wonder a great personal loss is seen in the stories each participant has to tell.
As we continue to listen to his music;this book will remind us what a Legend "The Man in Black" really was.
I am sure that when he finally met his God,he probably said something like;"Thanks Lord, for the privilege to have served you and my fellow man.I did the best I could ,and it's good to be home with you"
After you read this book,why not sit down and think or write about what Johnny Cash meant to you.

How do you come up with a way to tell the Johnny Cash Story that hasn't yet been done? There are countless biographies out there (disclosure: I have consulted, resourced and been interviewed on many), and the mythic history of this great man has been told many ways. But Hugh Waddell, JRC's friend and confidant of longstanding, has produced THE definitive portrait. He did it not by another retelling of the great Redemption story of our times (although that never gets old), or by a mere chronicle of John's achievements. Instead, he spectacularly tells the story through the eyes of John's family, friends, colleagues and fans. He wisely, and accurately, realized that it was John's effect on others which made him Mt. Rushmore-worthy. His life and music spoke to us, for us and with us, and the impact he made on people great and small continues to take the breath away. Johnny Cash walked with presidents (they fawned over him) and he sat with the people (who worshipped him). Hugh Waddell captures the qualities which allowed this by pointing the camera not at John, but at those he touched. The lens is reversed, and we see The Great Cash as a father, a farmer, a friend. His importance is told through the countless small interactions, the kindnesses and generosity, the human fraility and the soaring triumphs. He gave voice to our dreams and aspirations, taught us what it was like to run the mortal race, to fall greatly and rise back up greater. In these touching stories we see the real man, but more, we see ourselves. I did not want this book to end. The real people and their real stories about a real man are gripping. Johnny Cash was a giant, obviously. In this superb book we get to see how giants get that way. If I want someone to know what Johnny Cash was like, I give them this book.

Mark Stielper
Shoe size 11W

OK, with all the hype about the movie, Walk the Line, and living in Nashville as I do...and hearing Johnny Cash's name everywhere you turn...I hesitated going to see the movie "just because". Well. I somehow ended up seeing it, (long story for another day.) And let me just say that much to my chagrin, I LOVED the movie. So now I've been on a Johnny Cash rampage, listening, watching, and reading everything I can get my hands on. Yes, I succumbed. Call me weak.

This title looked interesting to me because it's written by people who knew him on a day to day basis. There's a chapter written by the guy who kept his farm, for gosh sakes! You just feel the love seeping from the pages. I wept, I laughed, I've read it again, and again.

For readers who might be wondering what all the shoe size business is about here in the reviews (I know I wondered before receiving the book)...Hugh says in the book that Johnny always said he had "itchy feet". He always needed to be doing something and going somewhere different. Johnny said "Everyone has itchy feet, some just itch more than others." So at the beginning of everyone's chapter is that person's shoe size. Just one more quirky little reason why this book has earned a place on my 'favorites' shelf.

As a Nashvillian, I would like to say: We are proud of our 'Cash heritage' and this book lays it all on the line.

Thank you, Hugh Waddell for such a wonderful gift that I'm sure even JRC's family will treasure for years and years.

May
Nashville, TN
Shoe size: 7.5

My favorite publisher of cookbooks keeps me having successes in the kitchen. If you don't like wasting grocery money or time, these are the books to use for never having to scrape a failed effort into the garbage.

Just what I wanted. Delivered quickly as always. Enjoyed the cookbook almost as much as I enjoy watching the show. Worth the price and the short wait to receive it. You came through again, Amazon. 5 Gold Stars for you!

It's difficult to go wrong with America's Test Kitchen. I love their recipes--and the equipment ratings are extremely helpful.

I've only made about six items from this book--but all have turned out extremely well.

I highly recommend this book.

I've bought a number of books published by Boston Common Press, and all of them, including this one, are superb cookbooks for the home cook. They explain exactly what to do and why to do it that way. In my experience, cookbooks of any sort (especially restaurant cookbooks by celebrity chefs) tend to suffer from poor writing and give uneven results. This one does not. To my palate, perhaps one out of every fifteen recipies falls flat, producing merely good rather than excellent results. Virtually everything is a crowd-pleaser.

The only caveat I have to add is that there is a certain amount of overlap between different Boston Common Press books and Cook's Illustrated magazine. If you own lots of their books or subscribe to Cook's, find a copy of this book at your bookstore and thumb through it to see how many recipies are redundant. Still, an great buy.

I liked the fact it didn't just tell me how to do something it told me why.

While there aren't many recipes (around 30)
all have turned out very well.

It's severly dated by today's standards, but what an excellent read, all the same. I look at it as the music industry version of Julia Phillips "You'll Never Eat Lunch In This Town Again". Biting with sardonic wit, lots of muck-raking (most of it spot-on), and just a wee bit 'o' honesty.

How much of it is true, we'll never know. But the essential bits (the inception of the Boomtown Rats, their immersion into the music scene, other bands, Live Aid, etc.) are required reading for anybody who gives a damn about the music industry. There's loads of comedy as well as pathos, as well as some of the greatest quotes I've ever read in an autobiography.

If you can still find a copy, it's well worth owning.

A wonderfully crafted autobiography. Honest and personal, Geldof puts the first half of his life under the microscope and you grow to love him for his warts and scars.
A riveting book especially for those who recall the music of his era. You will laugh and you may cry even if it is only because the book ends years short of the present day.

This book is one of those books that will renew your faith in the ability of normal people to change the world for the better. It is also hilarious and a great read!

I don't usually read biographies books but this one is a very good one

Bob Geldof's book is a stunning odyssey into the mind of a rock star. he also happens to be a philanthropist who can teach a thing or two to the best of them. the man behind `live aid' not only collected hundreds of millions out of a telethon for africa's famine victims, but made sure they reached the right hands. his forthright language and no-holds-barred style are refreshing. if you must read an autobiography of a rock star, read this one.

This was a very intimate story...it revealed Julia's character for the
reader in a very personable way. I feel like Julia has become a very
dear friend after reading this book, and her love of food has become
contagious. Julia shares her discoveries about food, life and love...
and the happiness each provided her. This book filled in the gaps
of fact and fiction about Julia. Bon Apetit to all.

Did you know that Julia Child was a devout atheist? There are many details about Julia Child's life that her adoring public did not know. This small but comprehensive biography is an excellent overview of her long life and successful career. I had heard about her work during World War II, but I didn't know the details of her training, how her acclaimed first cook book came to be, or what went into the success of her TV shows. All these things and more are included here.

What shocked me the most was her siding with the food industry when radical changes in production came to be. She was against organic food, calling it "even worse than health food," and was quoted: "There is no room for the cult that regards `natural methods' as good, and all improvements on nature as bad." She called the genetic engineering of food "one of the greatest discoveries" of the 20th century, and spoke out in favor of irradiation while calling opponents "nervous nellies." She supported the food industry on changes such as pesticides, hormones in beef, and antibiotics in chicken. I would have imagined someone so enamored of food in its natural state would have been at the very least leery of such radical changes

To her credit, she encouraged new young female chefs, and did all she could to advance their careers through publicity and by funding scholarships for these female culinary students. As she advised all her students, she believed love for the food that went into preparing it is what made an exceptional meal. Interestingly, later in her career, she turned to more convenient methods, such as using frozen foods. She was a great fan of the American supermarket, and believed a good cook could create fine meals with all ingredients from a supermarket.

This little biography is a wonderful look into the life of this fascinating woman, and includes much about her exceptional qualities as well as her more controversial views. Laura Shapiro has created an enlightening narrative which gives a complete picture of our one and only Julia Child.

This short biography, one in the wonderful Penguin Lives series, is an excellent overview of Julia Child's life. Laura Shapiro writes well and keeps the narrative flowing. It was a joy to read.

This book was exactly what I was looking for. It has just enough about Julia's background to let you know what lead her to become The French Chef without being overwhelmed with minutiae. The book focuses mainly on her love affair with food & its preparation and her drive to get people to go into the kitchen and cook. If you enjoy watching Julia, you'll enjoy this book.

A delightful book that renewed my interest in food and got me browsing through the Julia Child cookbooks I own. One sees all the effort and hard work that she and her dedicated husband put into her TV shows. My husband and I enjoy cooking and since reading this book, we have regained some venture and enthusiasm in trying new dishes. And even if things don't always turn out, neither did Julia's. One learns from mistakes, goes on and tries again.

I had never heard of Bjorling until several months ago one late evening when the local classical music station played some of his arias. I had missed the intro to the work and couldn't figure out to whom this incredible and unique voice belonged; I knew I'd never heard anything remotely like it. You have to hear Jussi only once to want to listen endlessly to his voice. (Needless to say, my opera CD collection is expanding exponentially.)

So it was a great pleasure to discover this excellent biography, which illuminates not only his life but also the opera world from the 20s through the 50s. His early life and training from his father are particularly interesting if you wonder how such a great talent was discovered and developed. (The only question in my mind not answered is the extent to which his children inherited the incredible musical talent that was in his family for generations; that they perform is mentioned but never elaborated on.) The book is well documented with quotes from his peers, and the authors do a splendid job of presenting the entire person with his strengths and weaknesses in a very objective way that holds the reader's interest from beginning to end.

Jussi was an impeccable artist with a a magnificent voice and superb musicianship. This book details his careeer as a flawed man and a magnificent artist with a voice which cannot be rivaled. Ever.

In a world where most opera biographies are either useless, gushy fan magazines or vicious, gossipy garbage, this loving yet warts-and-all account of the life of the great Swedish tenor Jussi Bjorling (1911-1960) is a standout. Although the book is written primarily by his widow Anna-Lisa, there is additional, exhaustive research and editing by Andrew Farkas (who also co-authored an Enrico Caruso biography with Caruso's son). Many of Bjorling's colleagues are also interviewed, and reviews of both his live performances and opera recordings are extensively quoted. As a supplement, there is also a 58-page listing of Bjorling's performances (933 in opera and nearly twice as many concerts and recitals) at the end of the book. The cover shows Bjorling as Romeo in `Romeo et Juliette', perhaps his greatest role.

Anna-Lisa Bjorling, who was married to Jussi for 25 years, was herself a fine soprano who often partnered her husband in concert. As of this writing she is still alive at 92. Although Anna-Lisa clearly loved Jussi very deeply, she is still capable of being objective about him when required. She is a wonderful writer, providing vivid portraits not only of Jussi, herself, and their children, but just about everybody they ever came into contact with, as well as of life in Sweden in general. After reading this book, I felt like Jussi and Anna-Lisa were old friends.

Bjorling had not only what was probably the most beautiful tenor voice to ever come out of a human throat, but also a nearly perfect technique, a superb sense of style, and the ability to truly stir the souls of his listeners. While he had a reputation for being a very poor stage actor, this was at least occasionally exaggerated. Although Bjorling died tragically young at the age of 49 of heart failure, he had a magnificent and very long career which lasted 45 years, 32 as a tenor. He is probably the only opera singer whose recording career (which began when he was 9!) lasted from acoustic to electric to LP to stereo recordings. He made his stage debut at 19 as Don Ottavio at the Royal Opera, Stockholm, after having studied first with his father, his principal singing teacher, and then at the Royal Opera School with the Royal Opera's director, baritone John Forsell. His career expanded to Europe and the rest of the world very quickly. He made his Metropolitan Opera debut in 1938, and with the exception of the WWII years and several years in the 1950s due to fights with Rudolf Bing, he remained there until his death. He concentrated on about 10 or 15 Italian and French operatic roles, and was also an avid recitalist with several hundred songs in his `inventory'.

Unfortunately, Bjorling is nearly as famous in operatic circles for his alcoholism as for his glorious singing, and I think that is appalling. In fact, the one thing this book makes very clear is that although the disease was a tragedy for him personally and traumatic for his family, it had comparatively little effect on his actual career, at least outside Sweden. Working actually kept him from drinking. Anna-Lisa offers considerable proof that many of the stories about Jussi's drinking were exaggerations, gossip or outright lies, most tellingly in the true story of the cancellation of the `Un Ballo in Maschera' recording under Sir Georg Solti, which was a product of producer John Culshaw's malice. Nearly all his colleagues also defend him on this regard. As far as I'm concerned, the only people who have any right discussing Jussi's alcoholism are Anna-Lisa and his children, as they are the only ones who really had to deal with it. ....

Overall, Jussi comes across as a beautiful human being - simple, warmhearted and lovable, a wonderful husband and father, adored by almost everybody who worked with him or knew him. The book is full of stories about his kindness and generosity to colleagues. He was also an avid pike fisherman who loved westerns and was unbeatable at arm wrestling. He basically had only three serious flaws as a human being: impulsiveness that on occasion bordered on irrationality, stubbornness, and what Anna-Lisa calls, for lack of a better term, a deep inner restlessness - the inner demon that drove him to drink.

I only wish `Jussi' could have been longer. A year before it was published, I spoke with leading Bjorling authority Cantor Don Goldberg, one of the book's proofreaders. He told me that the first draft was 1100 pages. As the final copy is only 520 pages, I wonder what was cut besides the many laudatory comments from colleagues that were considered repetitive. I was surprised that there wasn't more information about Jussi's brothers once they reached adulthood, especially Gosta, who was so close to Jussi that they had an almost telepathic relationship. And while this book does full justice to such fundamental influences on Jussi's singing as his father, John Forsell (who emerges as quite a character!), and Tullio Voghera, I would have liked a bit more on Nils Grevilius, who conducted nearly every recording Jussi made before 1950. There is also virtually nothing about Hjordis Schymberg, the fine Swedish soprano who partnered Jussi over 100 times in Stockholm. More mention of his recordings besides the complete opera sets would have been welcome, although I am aware that his recordings are covered in the companion volume `A Jussi Bjorling Phonography'. Finally, while I am aware this would have added to the price of the book, there are so few color photos of Bjorling that I think they should have had one on the cover.

`Jussi' is essential reading for anyone with any interest in good music, let alone opera. It is the definitive biography of one of the most magnificent singers and human beings ever to appear on an opera or concert stage. If you haven't heard this man sing, remedy that immediately!

Using painstaking research, Mr. Farkas helps readers understand the demons that followed this troubled musical genius. I always revered this extraordinary man; I now feel that I know him. Thank you, Mr. Farkas Carol P. (JBS member...attended Washington conference but never met you)

That Jussi Bjorling was a man beset by demons from within, against which he frequently lost battles, is a revelation to those of us who only thought of him as the greatest tenor of the 20th century. Anna-Lisa does justice to his memory by openly discussing his problems. But of equal importance, she depicts a warm, friendly man whose life was his family and his singing. He was a loving and devoted husband and father, and, simultaneously, a consummate professional who took enormous pride in his craft. He achieved a level of success that will remain the standard for future generations of singers. The heights of adoration he engendered in his fans and colleagues, combined with the critical praise he enjoyed, will probably remain unequalled. His passing created a void that will NEVER be filled.

Superb book.

No really, this may very well be the book I have enjoyed the most, ever (though principally these kind of judgements are bollocks and nothing more, of course).

If you have the slightest acquaintance with psychoanalysis (the Lacanian field, preferably), the book should be read with Zizek's "The Fright of Real Tears". Here Zizek has some really perceptive discussions on Kieslowski the filmmaker and on charachters in the Colour Trilogy - without too many forced obscene jokes, I might add.

He wanted his audience to be interested in his films....and so we are. He wanted to stir people to something...he does. He wanted to inspire us...and that he did. Fans of Krzysztof Kieslowski, film buffs and aspiring filmmakers alike will get as much out of his story told in "Kieslowski on Kieslowski" as through his cinematic works of art.

Although not a very long career, due to his untimely death, it certainly was an illustrious one. And how fortunate we are to have had the filmmaker who brought us the beautiful and moving films "The Double Life of Veronique", the "Three Colours Trilogy" and the unbelievably intuitive "Decalogue", tell us in his own words his views on life and what he was thinking during the filming of these works.

The book, wonderfully edited by Danusia Stok, takes in Kieslowski's early years as a child, his film school years, his early short films and finally the feature films. Kieslowski is open and frank about his life and his work. He didn't see himself as a genius at all(we fans may tend to disagree on that point),quite the contrary he tends to point out what he feels were mistakes and his shortcomings. He talks of working in Poland, having to skirt around the political upheaval around him, films he made that were never shown to the public, and his quest for trying to make the stories as authentic as possible.

He discusses each and every film. He gives much of the credit to the cast and crew and although he touches on what the films meant to him,he usually speaks more of the technical aspects of each than the analytical.He talks of what was going on in the world, his life and his mind during the making of each film. The feature films are given more time and one whole chapter is devoted soley to "Three Colours"(these films were still in the editing stages at the time this book was written).

Included are many still photos of working on the sets, and personel pictures with his family, the actors and his collaborators. There is a section devoted to notes on many of the names and events, and also a complete filmography with a brief summary and list of credits for each film.

"You make films to give people something, to transport them somewhere else and it doesn't matter if you transport them to a world of intuition or a world of the intellect"....Krzysztof Kieslowski

Kieslowski lets us know in this book that we don't have to analyze each scene...just enjoy it for what it is. This book is a must read for fans and filmmakers alike!...So...enjoy...Laurie

Three Colors Trilogy (Red / White / Blue) [Import](All-region)(Remastered)

In his own words, Krzysztof Kieslowski tells you about the agony and the ecstacy of the independent filmmaking process.

The late Polish filmmaker is up to the challenge, delivering his characteristic frankness nestled within the pages of this short retrospective work, narrated in his own words, and magnificently edited (translated, too?) by Danusia Stok.

The book is tailor-made for "idie" filmmaking buffs, and supplies a glimpse into the enticingly magical personality which was Kieslowski's. Eschewing a typical rote autobiographical style, Kieslowski divulges key details about himself via the device of his extensive filmography -- revealing things about his thinking process and the high value he places upon delicate human emotionality through a step-by-step examination of his long filmography.

Spanning his early years as a prominent documentary filmmaker during the stifling years of Polish Communism and state censorship -- especially during the imposition of Marshal Law in Poland during 1980-1 when Kieslowski couldn't work for half a year -- and ending with his magnificent trilogy "Barwy" (Three Colours: Blue, White, Red), we're subjected to a feast of Kieslowski-isms regarding his thoughts pertaining to such diverse notions as:

** casting for acting talent.
** Kieslowski's penchant for making his ENTIRE crew a part of the idea-generating process for his films.
** the nature of artistic filmmaking in Europe compared to commerical filmmaking in the US.
** the demands of time on a filmmaker's personal life.
** the differing range of skills between Western and Polish filmmaking crews.

A right pity Krzysztof Kieslowski is no longer with us to share to a burgeoning generation of up-and-coming filmmakers what might very well some none-too-optimistic viewpoints on the state of today's "international" filmmaking.

The book is written in Kieslowski's typical unassuming style -- par for the course from the Polish master. The late director doesn't bowl you over with how much he knows about film history, or about the complicated craft of filmmaking. Kieslowski doesn't tell you that he's better than you or me. Rather, through a detailed accounting of his past achievements, Kieslowski's emphasis is always upon that which is most human: the wellspring of all his works, and the central reason why filmmakers must indeed make films, in his esteemed opinion.

Still, I found the book ended suddenly.

Not shockingly so, just that the work might have gone on for much longer than its seemingly scant 227 pages. There's so much to know about this magnificent paragon of the film community, and if anything, it will be a primer for further reading on the man, the legend, and his favourite subject: films.

Five-stars.

-- ADM in Prague

Reading the book was like watching another wonderful Kieslowski film. His casual authentic narrative throughout the book gives it a touch of a documentary almost.

I appreciated every page of his life story, as he tells it so that his personal story as a director - from his childhood through filmschool, his first films right to the Three Colours trilogy - is combined with the situation in Poland, with the Communist times, the censorship, the hopes and the fights with the system, the fears, the communication with the public through hidden messages, and the victories when succeeding to outsmart the censors.

All wrapped up in one, sprinkled with wit and natural story-telling style, the book is all you ever wanted to know about Kieslowski and the background of his life and filmmaking.

In the interviews throughout the book, he not only talks about the films, he also explains why he had to do them the way he did - both, the story and the style - about his personal beliefs, about his life and work in the Communist Poland (in which I could see similarities with the former Czechoslovakia, where I was born, as well), and about how it shaped his views.

Real reading pleasure, educational and entertaining, this book is one of the best I have read lately! And, I believe it gives another dimension in understanding of his films as well.

Kieslowski is one of my favorite film directors, maybe because I can identify with so much of what he shows in his films... So I was very happy to read "Kieslowski on Kieslowski" and learn about his years in the Film School and the events and memories connected with the making of many of the movies. The autobiography, edited by the director's friend, Danusia Stok, is very good and a must-have for his fans, but it is an autocreation, not a katharsis! It cannot be forgotten that Kieslowski was an artist also in his life so this book is not just a collection of facts.

The book also contains sharp comments and a very good background on the situation in Poland and how difficult it was to push one's own vision. The collection of photos is a valuable addition as well.

This is a great read for people interested in Bollywood. It not only tells the tale of one of the most popular actors in the film industry, ShahRukh Khan, but it also puts his history in the context of Bollywood's history. It is a great combination of in-depth information and socio-cultural analysis of Bollywood and ShahRukh Khan's life. It is extremely well written-interesting, poignant, and funny. For those who already know a lot about Bollywood or for those who are completely new to it, this is a great book for both kinds of people. I loved it and I highly recommend it. :)

If you are starting to get interested in Bollywood cinema and/or Shah Rukh Khan then this book will not dissapoint you.

I fell in love with the Bollywood cinema in August 2005. After watching hundreds of movies I felt a hunger to know more, to understand what makes it tick, what lies behind the colour, drama, music and obsession with Indian movie stars. I was looking forward to "King of Bollywood: Shah Rukh Khan and the seductive world of Indian cinema"-it sounded most promising. When I got hold of the book (thanks to Amazon)I couldn't put it down. I devoured every page, every bit of information-loved everything about it. I recommend the book to anyone who is interested in Indian Cinema, you will find it to be a fascinating insight into what makes the industry so alluring and powerful.

Title: King of Bollywood
Author: Anupama Chopra
ISBN: 978-0-446-57858-5
Publisher: Warner Books
Review By: Diana Rohini LaVigne, Indian Life & Style Magazine

Packed with scrumptious lesser known facts of one of, if not the top Bollywood actor of modern day, Shah Rukh Khan, King of Bollywood is a fun book to read and fun book to share. Being one of the most talked about personalities in the world today, SRK is a legend already but King of Bollywood feeds the hunger of his fans globally on what is the man like behind the mask of superstar.

Although it shies away from some of the less flattering aspects of the actor's life and lifestyle, it does deliver some notions of challenges faced, failures along the way and allows readers to travel from his days as a penniless boy traveling to Bombay on a whim to the grand master of marketing and box office smashes. His story is so extraordinary and almost bigger than life, but Anupama Chopra tells the story in a way that allows fans to follow along and relate their own personal struggles to those of the actor's. Expertly written, King of Bollywood puts SRK's life into chronological order while recalling old memories into current day stories for insight into his physiological make up. Chopra really works on getting the actor's words into the book and calls on friends and family to help build the story from outside his prospective.

There is no doubt that Shah Rukh Khan is a master at the game of Bollywood and the art of persistence. King of Bollywood tells the tale of a boy, turned into a husband, who becomes the actor he always dreamed of being and then remaining the man he always was at heart. This wonderfully written book will provide entertainment to Bollywood lovers around the world and for ages to come.

Bollywoodmania is an addiction. For Westners that will discover and appreciate it in the next years (and be sure they will!) it is the disclosure of a fairytale world of moviemaking that was there all the time but that we simply didn't know. Well, when this will happen the first and probably most important gateway will be the actor and the movies interpreted by Shahrukh Khan. And after having seen some of these, no one will be able to resist curiosity on this great actor.

Anuparma Chopra is a member of the Chopra family that makes up the establisment of Bollywood and is also an estimated journalist. From her priviledged point of view she has written this biography of the still young King Khan integrating his personality with the history of Bollywood cinema in the last 20-30 years. Naturally, the biography is authorized and as such may not contain episodes that are not consistent with the image modern Bollywood and Shahrukh Khan want to convey. All the less, there is a sincerity that transpires throughout the book and allows the reader to connect with the actor and his environment.

The first part on the youth of the actor is full of episodes and sometimes takes on a mythical aspect, but that is a common feature of all biographies. The chapters on the later years are a little sketchy and skip many well known facts. But we must not forget that this book has and will have a different impact on Indians or the Indian-culture public and "Westner's". The Author wanted to write about something new or at least not well known to her main public, that practically reads at least two or three articles a day on Shahrukh Khan. Reading the Indian reviews of the book that criticize the small amount of new information this aspect is very evident.

The book's point of force is the analysis of the reasons for Shahrukh Khan's success, that trascend the actor's talent and are deeply rooted in the transformation of Indian society and how modern Indians envision themselves in these years. An important weight is correctly given to the directors (Chopra and Johar) that have created Shahrukh's winning image and cinema personality, while some movies and directors he also worked with are only mentioned.

The bibliography is quite extensive for a short biography such as this and cites many interesting books on Bollywood cinema. A filmography of the actor is missing and I would have appreciated a brief comment on his less well known movies.

I suggest to read this book even if you are not a Shahrukh fan just to be updated on modern entertainment and on the reasons and pulsions that contribute to create our "collective imagination".

At the end of this book, author Andy Hamilton reassures Konitz that it will become a classic of jazz literature. I guess Hamilton was speaking at least half tongue-in-cheek, but, for what it's worth, I also think he's probably right.

As it's been said elsewhere, the author's editorial prowess is phenomenal, and the proof is that the book is extremely easy to read, while, at the same time, it is packed with information and insight. Hamilton has also been able to engage Konitz in some interesting discussions, like his views on several musicians - Anthony Braxton, most memorably - or his assessment of his own playing, and on the actual physical and psychological aspects of the process of improvising music.

This is pretty close to my ideal book on a jazz musician, where the subject has the chance to tell his story while speaking freely to a knowledgeable counterpart.

Highly recommended.

I found this book to be one of the most clear, informative and honest books in jazz literature that I have ever read.
Lee comes across as a candid, humble man, a servant to his art.
Through the conversational and well researched style that the writer Andy Hamilton adopts, Lee Konitz offers many realistic, straightforward insights into his life and study: and the lives of those around him.
As a jazz musician myself, this book opens many doors of perception.
It cuts through the myth and hyperbole that often surround the lives of the truly great ones in this wonderful artform.
Highly recommended!

This is clearly one of the best books about jazz I ever red. I'd put it next to P.Pettinger's "How My Heart Sings", J Szwed's "Space Is The Place" or E.Jost's "Free Jazz".
Pretty differently, here author chooses an original, extensive interview format, augmented by short essays written with the complete approval -and corrections, is said- of Mr.Konitz himself. Many great insight and analisys of this great, epocal musician are offered for a good work of comprehension of the complexity of Lee Konitz music and his belonging to jazz tendencies such Cool Jazz and Tristano's and others, his relations to many major jazz figures.

Despite Lee Konitz's illustrious career, there had not been a book-length treatment of his music and life until Andy Hamilton's book appeared. There have been numerous published interviews with him, but none is as informative, thorough, or enlightening as this book. Considering that Mr. Konitz is much better known in other countries than in the U.S., it is no wonder that an Englishman decided to write a book on him. One of the things that I liked about the book is that the artist got involved in the process, for example, proofreading the text himself. This lends a high degree of authenticity to the book. In addition to the interviews with Mr. Konitz, there are a number of shorter interviews with other musicians, which are also intriguing. This is an exciting and enjoyable book and I highly recommend it.

In this book of lively conversations on the improviser's art, Lee Konitz talks about all aspects of his music, from his beginnings (as a student of the clarinet, during the late 1930s) to the early years of the new century, and he does so with great candour. There's lots about the Cool School of playing and Konitz's musical mentor, the blind pianist Lennie Tristano. Tristano's music ran on a parallel track to bebop, but because it wasn't such a hot, sweaty affair it's been dismissed as a pallid version of the real thing, cerebral and abstract, disconnected from feelings, a music to be analysed by beard-strokers rather than enjoyed by foot-tappers. Konitz dismisses these false distinctions and emphasises both the vitality and originality of Tristano's music - points supported by several musician-contributors to the book.

The criticisms and comments that Konitz offers are frank, thoughtful and well-argued. Several of the chapters cover specific decades in his career. Others include: Formative Influences; Working with Tristano; Early Collaborators; The Art of Improvisation; The Instrument; The Material. Embedded within each of the chapters is a series of brief interviews with musicians, most of whom have worked on the bandstand with Konitz or recorded with him, including John Zorn, Phil Woods, Mike Zwerin, George Russell, Clare Fischer, Sal Mosca, Alan Broadbent, Sonny Rollins, Rufus Reid, Ornette Coleman, Harold Danko, Wayne Shorter, Paul Bley, John Tchicai, Greg Osby, Martial Solal and Evan Parker. Although this is fundamentally a book of interviews, Andy Hamilton provides scene-setting introductions to each of the chapters, explanatory links between subsections, and brief comments that help the reader better to contextualise the interview material. His contributions are considerable, but they're done with such a light touch the attention remains firmly on Konitz throughout.

Although Konitz broke with the Tristano school, Tristano's foremost `disciple', tenor saxophonist Warne Marsh, remained in a strong creative partnership with him until the late 1970s. Marsh is undoubtedly the saxophonist whom Konitz admires most, and Konitz's aesthetic, sound and approach to improvisation owe perhaps more to Marsh than any other player. He contrasts Marsh's approach with that of several other major players, including Charlie Parker and John Coltrane, whose solos relied to some degree on pre-prepared material. Throughout the book, there's much useful discussion about the philosophy of music-making.

Konitz is a great talker, with lots of interesting things to say about his own music and the music of Marsh, Tristano, Ornette Coleman, Miles Davis, Gil Evans, Parker, Coltrane, Charles Mingus and a host of others, and the book is peppered with valuable comments about `the jazz life'.

This book is the best Xena book I have read, maybe even better than the official one. It contains their biographies and a complete script of one of Lucy and Renee's conventions. It also lists the most websites and groups. The episode guide was very informative. It contained some mistakes that the author found with the show. This book is worth every cent!

I was one of the people Nikki Stafford interviewed for this book. Sadly, the fan survey she conducted had to be cut from the final version, but a great deal of information was still included. Nikki's research into the show, its stars, and the fans who built an international community around Xena: Warrior Princess in the early years is unsurpassed.

Some other books have since come out which seemed to me to be nothing more than blatant attempts to capitalize on the success of one of the most popular syndicated television shows in history. This book always struck me as something different. But maybe that's just because the author took the time to see what the fans thought and cared about.

One thing in this book that stands out from the others is that Nikki bothered to comment on the different episodes. This is better than the official book!! I like the way that there is a personal voice in the comments, and the way that the author dared to criticse it, and add some suggestions as well. Brilliant work!!

I thoroughly enjoyed reading this book. It was very informative and by most accountants accurate. I would suggest this book to any Xenite! :) BATTLE ON!!

this book is great.it has every thing you need to know about xena.it has a chapter on the broodway production of grease that lucy was in.what lucy and renee were like as kids.it also has two or three pages of comics.if you love xena you'll live this book.

I've always felt this book had an unfortunate title and may have done much better without the "Screenwriter" addendum. The fact is that the advice and exercises that Seger gives is germane to all writers - the novelist, short story writer, as well as the screenwriter.

The "Creativity Workbook" aspect is a true title, however. This is a wonderful book for those of you who feel you're suffering from writer's block. The only solution, of course, is to just write. Even if you're writing "I don't know what to write...this is awful...I have no idea what to write..." still do it. Eventually you'll have a break through. Seger hides this simple fact into her ingenious exercises, giving you situation after to situation to write about, all the while developing characters and plot ideas.

Her focus is to truly help you develop as a writer, not merely beef up your script with cheap, dime-a-dozen plot methods. In that aspect, this book is rather unique and very successful. One of the better writing books available.

Linda Seger offers a number of ways to re-start the creative process; if only one of them works for you, the book is worth it.

Just reading through the exercises in this book was enough to get me through a serious case of writer's block. She includes an entire chapter on tapping into your religious/spiritual side to flesh out characters and deepen plot, but don't worry: If that won't work for you, she suggests skipping ahead -- there are plenty more idea-provoking suggestions to come.

It's a resource to turn to again and again, whenever a dead end looms.

This book combines craft and creativity and provides writers with the knowledge necessary to write at the highest artistic level. The exercises within can be reused time and again and push a writer to think outside the box.

Not a paint-by-numbers approach, instead this author guides you into unlocking and strengthening your own, original voice.

What are you waiting for? This is a great resource!

I've found so much inspiration in Making a Good Writer Great. Seger's words have helped me break through that brick wall. She is truly a light to see by. I can call myself a screenwriter once again.

I love and collect books on creativity and problem solving. One of my favorites is Dr. Linda Seger's, Making a Good Writer Great: A Creative Workbook for Screenwriters. The title, unfortunately, is too narrow for its own good. It should be: Unleashing Your Creative Genius: Screenwriting as a Metaphor for World Peace...or something just as ostentatious. I'm serious. First, using Linda's techniques just replace all forms of the term "writer" for whatever job you're in: "engineer," "teacher," "mother," "assembler," "unemployed," or "politician." (On second thought, strike that last example.) Second, insert YOURSELF as the protagonist of YOUR PERSONAL story. Third, pick the problem you're having difficulty solving. And finally, using Linda's techniques and exercises creatively think your way to a solution just as you would the fictional character in a story. The problems that face all of us--writer, repressed child, or okay, even world leader--can be solved by using Linda's 12-step program. Here they are in my own words. 1. Discover your mission (or goal). 2. Articulate your values. 3. List the obstacles. 4. Plot turning points around the obstacles. 5. Stick to your passions. 6. Master your powers of observation. 7. Attach meaning to your experiences. 8. Accept your flaws as reasons to persevere. 9. Leverage the opposing forces. 10. Purpose to change the world. 11. Ask God for supernatural inspiration. And 12. Use feedback to ever improve. Linda's book is a winning tool for everyone...including writers.

Linda's writing was very helpful in the writing of my own book on screenwriting published by Michael Wiese Productions: THE MORAL PREMISE: Harnessing Virtue and Vice for Box Office Success.