Television Books

This is a well-researched book by Robbins Landon not only giving a detailed glimpse of Mozart in 1791 but also the ongoing intrigues associated with life in late 18th century Vienna. Discussed in detail are the three main compositions that he completed during this final year: those being, The Magic Flute, La Clemenza di Tito and his Requiem. There is an interesting section on Mozart's death and the myths and suspicions associated with his final illness. The last chapter is devoted to Constanze and her struggles to survive after Mozart's death.

The book has extensive reference notes, a detailed bibliography and an index that list people who were part of Mozart's life during this period. Also included are some interesting sketches of Mozart's apartment and an area map of Vienna where he and Constanze live in during his last year.

What I personally found of interest, resulted from the extra measures that Robbins Landon goes to give added details on some topics (in particular the 3 works mentioned above). Insights as to the sequencing of construction, participation of other people and outside distractions that influenced Mozart's ability to work on and complete these projects. For example: the fact that 5 different types of sheet paper were used by Mozart during the writing of "La Clemenza di Tito" gives clues not only as to the actual chronological order that some of the scenes were composed, but also an idea as to the geographic locales where different parts this opera was conceived. i.e. Prague or Vienna

It seems hard to believe that retrieving accurate material on Mozart's life and music would be difficult, given his fame. You'd just assume that every note (musical or otherwise) that he wrote would have been recorded for the sake of posterity: sadly, such is not the case. Although Mozart was regarded as a brilliant musician during his time he was only recognized for his true genius, posthumously. So, although a lot of the musical scores, letters, writings and conversation have survived, many were lost or went missing over the past 200 years. What a pity!

Well written and informative. This is certainly a book of special interest, but one that goes beyond the superficial discussions of Mozart's life. Recommended!

The author's affection and esteem for Mozart is apparent throughout, and his enthusiasm for his subject is infectious. This is obviously a work of careful scholarship, but the writing style is so fluid and the topic so engaging that this book can be appreciated by both serious musicians and Mozart-loving non-musicians alike. It addresses many of the subjects that the movie 'Amadeus' touched on--Salieri's jealousy, the writing of the Requiem, Mozart's final illness, etc. but, unlike the movie, it is content to let the unembellished facts tell the compelling story of the last year of the composer's life. A fascinating, well-written book.

This is a good book to read late at night, in the woods, alone. If you enjoy Mozart then...you might like this! This is my favorite book on Mozart I'd have to say. The last year of his life is an interesting subject and has become quite a little legend. This here book does a good job of taking apart that year and separating what probably isn't true from what probably is true. I'm trying to not use the saying, "separates fact from fiction," because I hate that saying. Really though, it does a good job of it. Well done research and all that. The mysterious flavor of the story of his last year is still kept in place. If you've never read a book on Mozart, don't fear. Everything leading up to his last year is included, making this a good book for the Mozart student and professor. I sure say a lot of smart things! So anyways, all that aside, this is a good read and even if you aren't exactly like me you will probably like it. There.

1791, Mozart's Last Year is a fairly short (199 pages plus appendices, notes, and index) book about the last year of the life of Wolfgang Amadeus Mozart, the famous composer. Among the things discussed are the possibility of Mozart's receiving a good paying position in the Vienna cathedral, his involvement with the Masons, and the circumstances surrounding the composition of La Clemenza di Tito, Die Zauberfloete (The Magic Flute), and the Requiem. Chapters also provide more general background about life in Vienna at the time. One chapter is devoted to the facts about Mozart's last illness, and other explores various myths and theories about it. A final chapter refutes some criticisms of Mozart's wife Constanze. The book is very well written, and appears to be the product of considerable knowledge and research. Included are some photographs and illustrations.

After reading "Mozart's Letters, Mozart's Life" by Robert Spaethling, this book was a nice transition. Both books are worth buying and reading. Mr. Robbins presented "Mozart's Last Year" logically and held my interest to the end.

The references to Haydn and his relationship with Mozart gave me some really new insight into how the two interacted and regarded the other. The research that was involved in this book lends credit to the contents, which were presented in a common sense way. Mr. Robbins has written a book that, I feel, is a "must read" for anyone interested to learn about Mozart's life and circumstance. A lot of rumors were put to rest. I learned a lot I did not know. I learned a lot about people who touched Mozart's life. I like the fact that he gave Constanze the respect she deserves as one who saved Mozart's works for us to enjoy! Great Job!

I am a huge fan of "24" and I collect 24 merchandise. This guide does a great job in breaking down each episode. It gives you all the major points you need to understand. When I ordered this book that's what I expected. However, I didn't expect all of the extra content. The first 28 pages are full of behind the scenes info about the shows conceptual design and how it was created. There are interviews with the shows producers and with Kiefer Sutherland himself. I highly recommend this to any fan of "24". It is a must-have.

This book is great with details and background of each character, and has the details from each hour, so is very helpful if you don't have two straight non sleeping days to catch up.

Two pages of information per episode: timeframe with the key events, research files, additionel intel and photo's. The book also contains the profiles of the main characters of the first two seasons. A must have for the real 24 fans!

This book is full of great photos and a real treat for 24 fans. The entire book is mostly photos and arranged by season. There are photos from the show and off set. I loved it and think that all 24 fans would enjoy it.

Mike and I over at 2GuysTalking:24 have been waiting for a book like this to come out for years now. Our only complaint is why so long? This is a gorgeous book to have in your collection and is chalk full of all kinds of 24 data, background info, interesting tidbits and if that's not all, tons of great photographs to supplement.

The look and feel of the book is something you really want to get your hands on and keep. Its got more of a "Tab Newspaper" style feel to it then your ordinary book. The pages are laid out nicely and each page represents one day in the life of Jack Bauer! Each day has its own timeline of events similar to our own "24 in 60" segment we do in our podcast. A great reference guide if you need to go back to look something up.

Each day featured on a page layout also has a section where they link interesting pieces of information that you might not already know about 24. For example, the $200,000 Mason was accused of skimming in the first season is linked to his son in the second season. Pieces like that really present a whole new perspective to the show that you may not catch when watching it.

Mega Kudos goes to Tara DiLullo for writing such a great book. You definitely want to get this in your collection. Mike and I were so impressed with the book we decided to have Tara on the show to ask her more about what went on behind the scenes and what to expect in the future. Check it out at [...].

Legendary money-burning KLF/JAMS/K-Foundation/Bunnymen main man reveals details of art terror tactics, a good old cow-hanging, Tenents Super distribution methods and his insane meanderings around the M25 with the Gimp. Proof that Drummond is a worthy link in the Magickal chain connecting straight back to Crowley...

Further book, film and music reviews, plus general shenanigans can be found at: www.mindcrash.co.uk and http://blog.myspace.com/mindcrash

Bill Drummond is a funny man. He is a gripping and vivid writer. If you have low boredom tolerance you will be satisfied.

Hope Bill Drummond writes more.

Lovely insight of a real artist in this fake world. Contains sudden loud laughs, honest and cynic. A bit too much of a whining and selfconfession, however they fit the agenda. A must for all serious considerers of pop in its any manifestations and for the admirers of The Manual, and The KLF phenomenon.

Bill Drummond is a funny man. He is a gripping and vivid writer. If you have low boredom tolerance you will be satisfied.

Hope Bill Drummond writes more.

As everyone already knows, Bill Drummond was in The Justified Ancients of Mu Mu/The Jams/The KLF/The K Foundation.

What most people probably don't know is that he's one of the most positive people they'd ever know, at least in writing. And with that positive energy comes inspiration.

Personally, it was this autobiographical text that got me back out of corporate america and behind the reigns of my own business once again. And I'm a happier person for it, even on the worst days.

Bill Drummond is an artist, first and foremost. He drips of creativity, and he's a genuinely funny man. Both show in his actions, see for instance "K foundation Burn a Million Quid," and his popularity gave him the resources to do more, but it never seemed to get to his head and in fact he seems to have thrown much of it away.

This book is never boring, and, really, don't be cynical - this text is very inspiring.

I have read this book over and over. Astrid Varnay has so much to offer readers who love opera. It is a great book to read through, but there are parts that take a couple of readings for a trained musician to understand. Her intelligence is evident in every word and so is her humanity. She is most knowledgeable about the works of Wagner and Strauss, so those interested in lighter opera may not be as well served, but her concepts are important for all opera singers. This book is quite honest and those who want some "dirt" on old singers, conductors and impressarios will be well-served. Go for it.

In the pantheon of twentieth-century Wagnerian sopranos, Astrid Varnay ranks very high, though she is woefully underrepresented on available recordings today. Through the efforts of friends and supporters, detailed in the preface, her autobiography has been made available in English, and music and opera fans everywhere should be grateful.

Varnay's story, told calmly but with frequent flashes of wit, begins with the tale of how her parents, both opera singers, met, married, and made their careers in Europe before coming to the U.S. and settling in New York. Young Violet Varnay, as she was dubbed by a teacher who could not cope with her Hungarian name Ibolyka (little violet), worked as a secretary, waited in the Met standing room line and quietly prepared herself for an operatic career. She prepared so well with her coach and eventual husband, Hermann Weigert, in fact, that her resume was met with astonished laughter at her eventual Met audition. The powers that be were quickly won over upon actually hearing her, and her stage career began at the Met in 1941 as a last-minute replacement for Lotte Lehmann in Die Walkure. Before retiring in the late 90s, after a career spanning more than five decades, her voice and dramatic presence would take her to Bayreuth and all of the great opera houses of the world.

It is of course difficult to say how much of the structure of the book stems from the singer herself, and how much from her co-author, Donald Arthur; but one of the attractions of this memoir is the skillful mix of narrative, anecdote and self-analysis of Varnay's numerous roles. She draws portraits of her husband, family and colleagues that leap vividly from the page, without ever descending to mere bitchiness, though she does allow herself some jabs at Herbert von Karajan and Rudolf Bing. The ultimate impression is of a strong, self-aware but not overweeningly arrogant personality--someone one would like to meet and talk to in person. One is touched by her inexhaustible eagerness to perform, and her capacity for discovering insights into roles usually dismissed as worthy only of comprimaria singers. She is also not above laughing at herself, and includes some amusingly informal photographs. Highly recommended.

Astrid Varnay, who died in 2006, just months after her very close friend and colleague Birgit Nillson, is enjoying a well-deserved renaissance, with the release of the Testament early stereo recordings of the Ring from Bayreuth in 1955. From her Met debut at the age of 23 as a last-minute replacement for an ill Lotte Lehmann as Siegelinde in Die Walkure, on the day BEFORE Pearl Harbor, through her primary career as the premier Wagnerian dramatic soprano of the 1950s, to her second career as a mezzo-soprano singing character roles into the 1990s, Astrid Varnay is one of the great opera artists of the 20th century.
Born in Stockholm to Hungarian parents, raised in New York City, and moving to Munich after being widowed in her late 30s, Varnay had an absolutely fascinating career that she relates with humor and verve. Indeed, many stories are just hysterical, such as a Dallas Tristan und Isolde, where Varnay, tenor Max Lorenz (as Tristan), and mezzo-soprano Blanche Thebom (as Bragaine), took turns holding up a collapsing fake tree! Although never mean-spirited, Varnay paints amusing and sometimes sharp pictures of many of opera's greatest names. (She, along with many in the opera world, saves some of her sharpest points for Met manager Rudolf Bing.)
This should be in any opera fan's collection of opera books.

Astrid Varney was born in Stockholm to two Hungarian opera singers. As a child she lived in South America prior to the family's immigration to New York.
Varney was trained as a singer by her talented mother and an older teacher whom she later married. Varney premiered with the Metropolitan Opera on Dec. 6, 1941 as Sieglinde in Wagner's
monumental "Walkure.' Since thay day Miss Varnay has traveled the world singing in great opera palaces and in regional companies.
Her comments on the life of a classical singer; various colleagues in the field and the various locales her craft has taken her to make for fascinating backstage reading for all of us who are opera buffs.
This biography is well written laced with humor and honesty.
I knew little about Varney prior to reading this book but am glad I made her acqaintance.
Bravissimo to this down to earth diva dedicated to her art!

I'm not especially interested in biographies of performers. Especially not autobiographies - these tend to be long lists of how wonderful the subject/author is/was and a bit of score settling to liven things up.
Varnay is not above score settling (in her genteel way, she eviscerates Rudolf Bing and she details her feud and glorious reconciliation with Karajan - a Salzburg Elektra that everyone should hear), but her narrative is quite gracious and restrained overall.
It's also engrossing to read. Although Varnay spends a little more time than perhaps she needed telling us what a hard worker and consummate professional she was and is, her actual thinking about the operas and characters she was involved in is fascinating stuff and a valuable guide for singers and perhaps actors as well.
Following her around the world to different opera houses and watching how things work (or, all too often, don't work) is engrossing and her comments on professional colleagues - always judicious - are usually quite on the mark.
There are only a few videos available showing Varnay's art (which is too bad) and not many more sound-only recordings (which is even worse). If you look, you can find her as Brunnhilde in Act III of Die Walkure (EMI with Karajan - they were getting along then) and a complete Gotterdammerung (Testament with Knappertsbusch)both from the 1951 Bayreuth festival; a couple of Ortruds from Bayreuth Lohengrins; a Senta from Bayreuth conducted by Knappertsbusch (Music & Arts); and the Salzburg Elektra with Karajan (Orfeo). There are also a couple of complete Rings available on private or semi-private labels and, allegedly, the 1955 Keilberth Ring due out on Testament. No Italian repertoire, alas, no Kundry, double alas, and no complete Tristan that I know of, triple alas.
My only complaint about this book, aside from that it wasn't twice as long, is that Varnay is and was so much a person of the theatre that it's hard to find the real person underneath. This is very much a narrative of the role of Astrid Varnay, great and hard-working opera star. Astrid Varnay the person is waiting backstage for the performance to be over, which is probably where she was for most of her life.
Still, it's a great treat to spend a couple of hours with a charming, intelligent, literate, kind, and witty companion who has so much good stuff to tell you. It's only afterward that you wonder whether there was a person behind all that dazzle who was sometimes frightened, lonely, introspective, or grateful and happy over little human things. I hope that person writes a companion volume someday. I bet she'd be wonderful to get to know as well...

I bought these books for my 12yr old daughter. She's a huge POTC fan & has gobbled these books down. Now she has the whole set (9 in all). She enjoyed them immensely & wishes more were available.

My grandson loves Jack Sparrow, and so for his birthday we got him two books. He was delighted and now has the entire set. It's wonderful when you can see enthusiam about reading with all the electronic distractions that there are.

I've read the entire series so far (Vol. 1-7) to my nine year old son. It's something we share-our love for Captain Jack Sparrow and the crew of The Barnacle. The entire series is funny and exciting. It is so easy to picture Jack Sparrow as a teenager. I can't wait for Volume 8!!!

We are just starting on this book, the 5th in the series and a start of a new adventure for the young explorers. "Captain (please!)" Jack Sparrow and his crew seek a well-deserved rest after their experience with the Sword of Cortes, only to find themselves in the middle of another mystery and at the heart of the wrath of one of their crewmate's village! This book is another page turner that leaves my son begging for the next chapter and the next book in the series! Perfect for us die-hard POTC fans!

we have all five books now, my son is 12 and he loves the pirates books, now he's waiting on the next 2 to come out. thanks so much penny & danny

Al Tompkins scores with a practical guide to make pictures and words compelling, even for a novice TV reporter.

Al Tompkins just gave a great presentation at RTNDA on how to find information on the internet. The seminar was filled with humor, insight, and just plain useful information. This book has a similar feel, like advice from someone who wants you to succeed. If a lot of young people read this book (along with some older journalists), perhaps journalism won't be in quite the spot it finds itself in.

I've worked as a tv reporter for nearly 21 years...16 years in Portland, Oregon. This is by far one of the very best books I've read on the art of writing for tv news. I found it useful after reading the very first page. Tompkins uses clear, concrete examples to illustrate his points which instantly made me a better writer. Its refreshing to think about our craft with new insight on the purpose and focus of each story. I've urged all the producers and reporters in our newsroom to get and read this!

I purchased this book to help teach high school students how to write for broadcast, and the lessons Tompkins gives are valuable for students and professionals. Tompkins shows the process behind the writing and the factors a reporter should consider, such as when less writing is more. The book is funny, entertaining, and touching at the same time. He gives many specific examples, including exerpts from scripts, that show the detail and the planning behind the writing. It changes the viewer's perspective on the television news, and it certainly could help professionals refine their writing for broadcast.

Mr. Tompkins' book was the reason I got my first job coming out of college. The first two stories I put on my resume tape were heavily influenced by the things I read in 'Write for the ear, shoot for the eye, aim for the heart.'

Al explains things so that you not only understand how to do the things we do, but also why we do the things we do. I still keep the book on my desk, and whenever my reporting gets into a rut, I haul out Al's book and re-read it. My next few stories are always better than my last few stories.

I'm not sure why,but this book has a lot more to it than first meets the eye.Often books of this nature are of the 'edited 'type with very little effort put into them and while the concept is good ;usually filled with a bunch of fluff.But not this one.A great effort has gone into it and as a result we have an excellent work.
While he never gets away from his topic,Turner gives us an awful lot about the history of Newton and everyone associated with him,a thorough understanding of the slave trade,a good understanding of the various Protestant churches of the18th and 19th centuries .If that isn't enough, he has covered in minute detail the evolution of the hymn,it's meaning word by word,it's associated music and how it spread ,and by whom ,throughout it's 225 year history.
He has beautifully shown the deep religious and theological meaning the hymn has for those who understand it and have a faith in God.He has just as well explained how and why so many people love and get inspiration from the hymn even though they may have little in the way of faith or religious involvement.He does this without being judgemental in any way.
As to how Newton could be involved in the slave trade.."Slavery was as acceptable as abortion is today-it was legal,it had immediate and tangible benefits,and people predicted widespread calamity should it ever be banned.There was no social pressure for him to feel shame.Cities had been built on the fruits of slavery and the great merchants of slaves were celebrated,giving their names to buildings and streets.It was those who were opposed to slavery who were regarded as irritants-ememies of social stability,troublemakers,idealists with no concern for progress."
There is one thing I would like to add and that is..If there ever was a book that would have benefited from an included CD,this would have been it.

I love Steve Turner books, and I love the song Amazing Grace. What a combination!...a work of history that reads like a good mystery novel! I couldn't put it down until I'd read it from cover to cover. This book has everything...a great redemption story, both for the man, Newton--and his song, which didn't really take off until someone put the perfect tune with it a hundred years later. Turner manages to present the context of Newton's theology in a scholarly way that will be informative, but not off-putting to those who are not into reformed theology. The secular life of the song is fascinating...to see how this song was popularized, and now touches millions. To me this song has what we wan't all music to have...something that touches our insides in a way we can't describe, but we know that it makes our lives more complete. And the biggest surprise of the book?...Newton became a slave-trader AFTER his conversion, and only opposed slavery much later in life. Considering how slowly America has repented of it's historic racism, there may be a lesson for us all as we see the sanctification that occurred over time in Newton's life.

If John Newton's life were made into a movie, most people wouldn't believe it. My vote for book of the year. Read it--you won't be disappointed.

I sing and Amazing Grace is one of my favorite hymns. I'm also a nontheist. I'm pretty comfortable with those two seemingly incongruous facts, but I thought I'd read Steve Turner's book Amazing Grace to see if other folks like me had made it into the text. I'm also an Arlo Guthrie fan and I figured I'd do some fact checking on the version of John Newton's story Arlo tells when singing Amazing Grace in concert. Folks like me show up towards the end of the second part of the book and Turner indicates that Arlo is aware that his version is condensed and inaccurate.

The first part of Amazing Grace is the story of John Newton and how he came to write the words to what is now America's favorite hymn. I learned a lot of history, especially of the slave trade in the 1700's, while getting the non-Arlo, complicated version of Mr. Newton's life. The second part of the book follows the history of the hymn post-Newton. Turner has done his homework and I especially enjoyed learning about the history of the hymn in the 1800's, including how Amazing Grace picked up the tune we now sing it to.

I highly recommend Amazing Grace to fans of history, music, and, of course, the hymn Amazing Grace.

I just led a church service about "Amazing Grace," and Steve Turner's book served as my main resource. I read it cover to cover during the process, and found it highly intelligent and interesting, with far too many "tidbits" that I wanted to include in the service and couldn't! I encourage the reading of this book AS a "pleasure read," not just as research material.

I particularly appreciated the section on contemporary versions of "Amazing Grace" and its impact on the secular community. As a Unitarian Universalist, I was greatly cheered to find one of our ministers quoted on the impact of the hymn on those who don't necessarily believe in a divine presence.

The discography of AG recordings included as an appendix was also hugely valuable, as I compiled a CD of recorded versions as a "party favor" for my (small) congregation. Turner's correct when he says it's a "select" discography, but he got most of the really good ones!

I'm the owner of an Entertainment Publicity firm in Las Vegas. While on a trip to Los Angeles last week, I wandered into a memorabilia shop and purchased what appears to be the original, unedited manuscript to this book. I've been reading it for the past two days and am absolutely enthralled with Mr. Cossette's story. Starting with his first break into the Entertainment Industry and proceeding through decades, I've been even more humbled upon realizing that I have worked with some of the people and organizations that he makes reference to in his earlier days in the business. For an Entertainment Industry member to a fan of all things Hollywood, this is an absolute must-read!

Pierre Cossette is a true legend in Show Business. I recommend this book for anyone serious about a career in show business. He has helped so many new artist and their careers. An excellent book.

Behind the scenes peeks into the inner-workings of show business are often self-congratulatory, full of tired insights and recycled anecdotes, and little more than glorified puff pieces. The arrival of Pierre Cossette's "Another Day in Showbiz" is all the more a truly welcome addition to the biography canon in that it both offers a plethora of quotable stories and a real attempt by its author to explain how an insider rose from being an outsider to becoming the proverbial insider without losing humility or a wicked sense of humor.

Particularly striking is Cossette's willingness to reveal his failures in addition to his many successes. A man whose winning track record includes celebrated productions in Las Vegas, on television, on Broadway and throughout the music world could easily have omitted his duds, but his candidness helps make the book resonate all the more as an instructional primer on the entertainment industry. The clear lesson here -- that it is persistency that can and does succeed -- is hardly unique to Cossette, but his cheerful yet no hold's barred spin on it gives the reader a glimpse that they could never have been privy to prior.

Getting rejected by Angie Dickinson with a romantic overture might not be something most would boost of, but the author's ability to see it as a reality check and to move forward is a perfect example of his self-deprecating style. Then again, his success with woman has obviously been quite good as witnessed by his glowing words for his current wife. In fact, his clear love for her, as well as for the other key woman in his life, is one of the book's strongest suits. Despite, or perhaps because of, his tremendous success, the obvious tenderness of the man serves as a winning example of a "nice guy finishing first."

To call him a true renaissance man may sound like a cliché, but it is perfectly apt. He knew everybody before they were anybody. Among the many highlights of "Another Day in Showbiz" are lengthy sections on his career in Las Vegas (where he not only began the tradition of the lounge singer, but booked Ronald Reagan and nearly every star of the era), an odd but telling encounter with Howard Hughes, his dealings with superstars ranging from Andy Williams to Celine Dion, his Broadway success with "The Will Rogers Follies" (including some interesting Marla Maples' anecdotes), the founding of his Dunhill Records label, and of course the book's main highlight -- his producing the Grammy Awards telecast for 35 years.

The manner in which he was able to convince a reluctant television network to air the Grammys live for the first time nearly 35 years ago is a perfect example of juggling, risking and trusting your guts. Incredible as it may seem today, there was no real interest from the network brass in such a telecast. Again though, Cossette's persistency and obvious smarts paid off. Cossette has been rightly referred to as "The Godfather of the Grammys," and anyone who reads this book will probably want to kiss his ring -- and want to go into "Showbiz."

Behind the scenes peeks into the inner-workings of show business are often self-congratulatory, full of tired insights and recycled anecdotes, and little more than glorified puff pieces. The arrival of Pierre Cossette's "Another Day in Showbiz" is all the more a truly welcome addition to the biography canon in that it both offers a plethora of quotable stories and a real attempt by its author to explain how an insider rose from being an outsider to becoming the proverbial insider without losing humility or a wicked sense of humor.

Particularly striking is Cossette's willingness to reveal his failures in addition to his many successes. A man whose winning track record includes celebrated productions in Las Vegas, on television, on Broadway and throughout the music world could easily have omitted his duds, but his candidness helps make the book resonate all the more as an instructional primer on the entertainment industry. The clear lesson here -- that it is persistency that can and does succeed -- is hardly unique to Cossette, but his cheerful yet no hold's barred spin on it gives the reader a glimpse that they could never have been privy to prior.

Getting rejected by Angie Dickinson with a romantic overture might not be something most would boost of, but the author's ability to see it as a reality check and to move forward is a perfect example of his self-deprecating style. Then again, his success with woman has obviously been quite good as witnessed by his glowing words for his current wife. In fact, his clear love for her, as well as for the other key woman in his life, is one of the book's strongest suits. Despite, or perhaps because of, his tremendous success, the obvious tenderness of the man serves as a winning example of a "nice guy finishing first."

To call him a true renaissance man may sound like a cliché, but it is perfectly apt. He knew everybody before they were anybody. Among the many highlights of "Another Day in Showbiz" are lengthy sections on his career in Las Vegas (where he not only began the tradition of the lounge singer, but booked Ronald Reagan and nearly every star of the era), an odd but telling encounter with Howard Hughes, his dealings with superstars ranging from Andy Williams to Celine Dion, his Broadway success with "The Will Rogers Follies" (including some interesting Marla Maples' anecdotes), the founding of his Dunhill Records label, and of course the book's main highlight -- his producing the Grammy Awards telecast for 35 years.

The manner in which he was able to convince a reluctant television network to air the Grammys live for the first time nearly 35 years ago is a perfect example of juggling, risking and trusting your guts. Incredible as it may seem today, there was no real interest from the network brass in such a telecast. Again though, Cossette's persistency and obvious smarts paid off. Cossette has been rightly referred to as "The Godfather of the Grammys," and anyone who reads this book will probably want to kiss his ring -- and want to go into "Showbiz."

Funny, interesting, juicy. One of the best books on the music industry I've ever read.

Robert Craft was on the money in his description of this monograph as "one of the most brilliant ever to be published on any composer, let alone the most difficult master of the present age." Stripping away any unnecessary biographical details, Mr. Rosen gives a surprisingly deep and insightful chronicle (for so short a book) of both the music of Schoenberg and that of his contemporaries. Whatever path serialism was to follow after Schoenberg, his own personal reasons for creating it are elucidated here more clearly and with greater historical insight than anywhere else that I am aware of. It has been popular of late to denigrate Serialism, implicating Schoenberg in some of the excesses of his followers. This has always seemed to stem from some fundamental misunderstandings about just what it was Schoenberg was setting out to do when he created his twelve-tone system. This work should be mandatory reading for those revanchist musicians and neo-tonalists who practice a sort of musical revisionism in their assessments of Schoenberg's work--indeed, for anyone who is interested in gaining insight into a composer of unquestionable genius.

Sometimes it's the simplest of observations which make the most long lasting impression.I've always been struck by Rosen's assertion that in 'pierrot lunaire' (or any number of his pieces)it wouldn't make make a huge amount of difference if the instrumental parts were transposed in such a way that the vertical relationships would be altered.Rosen notes that it would be more detrimental if the dynamic markings were altered, affecting the delicate interplay of textures.

Every book I've ever read by Charles Rosen and has deeply affected my view of the topic, and this little book is no exception. There isn't much biography in this book, it is strictly music criticism, focusing on the 'victory' of Schoenberg as well as his two students Webern and Berg.
This book went a long way in helping me to understand the aesthetics of serialism. I don't think a nonmusician would find much use in it, but I think anyone who is a musician at all and has experienced Schoenberg's music will be able to get a lot out of it.

Robert Craft was on the money in his description of this monograph as "one of the most brilliant ever to be published on any composer, let alone the most difficult master of the present age." Stripping away any unnecessary biographical details, Mr. Rosen gives a surprisingly deep and insightful chronicle (for so short a book) of both the music of Schoenberg and that of his contemporaries. Whatever path serialism was to follow after Schoenberg, his own personal reasons for creating it are elucidated here more clearly and with greater historical insight than anywhere else that I am aware of. It has been popular of late to denigrate Serialism, implicating Schoenberg in some of the excesses of his followers. This has always seemed to stem from some fundamental misunderstandings about just what it was Schoenberg was setting out to do when he created his twelve-tone system. This work should be mandatory reading for those revanchist musicians and neo-tonalists who practice a sort of musical revisionism in their assessments of Schoenberg's work--indeed, for anyone who is interested in gaining insight into a composer of unquestionable genius.

seeing that this is such a small book (barely 100 pages of text), i was surprised at the depth of this book. as one reviewer wrote, it does not get into specifics about his life ('journeys' by allen shawn is good for that), but it gets into enough. i was especially pleased with the musical analysis of schoenberg's music that was presented here, which those who understand music can appreciate; such is left out of many musical biographies that i have read, and that is why i appreciate it here. it does lend a tremendous assistance in understanding his music, and his working philosophy. (that said, though, it might mean that this isnt the book for you if you dont want to get into theory; again, shawn's book is an excellent alternative then.)in fact, after reading this, i started to read schoenberg's writings on music theory, which ifound enlightening.

I bought this book because it was a textbook for a sportscasting class that I am currently taking. The insights and working wisdom in this book are phenomenal! I can see why the professor, an ESPN alum, chose to use this as his textbook. The interviews are well written and explain not only the subtleties of sportscasting, but also hammer home the basic fundamentals of good sports broadcasting. I recommend this book to anyone who wants to broadcast, from little leagues to the pros.

Probably the best primer on breaking in. I use this text in a course I teach. Well recommended by other collegues.

Len Clark station manager of WUEV-FM, A Practical Guide for Success for Beginners and Professionals Aspiring to the Next level Tom Hedrick and Diamond Communications have published the ultimate text for students interested in pursuing a career in sports broadcasting, and for practing broadcast professionals. This step by step guide offers insight and advice to help individuals each and every step of the way.

This book gave me more info than any other book of its kind. I would recommend this book to anyone. Even if you weren't already interested in sportscasting before reading this book--you will be by the time you finish!

If you are just starting out in the business , this is the book for you , due to its insight on not just the game itself , but the before (preparation) , during (working with others) , and after (reviewing your work) aspects of the job. For those who have been in the business , but are looking to take that next step , this is the book for you. My first time out after reading this book , my interviews were crisper , my work with others was more professional , and the end result was a more solid product. If you are serious about sportscasting as a career , this book will give you the insight to help make it happen!