Video Books

Buy a book from a fifteen year old author? Sure, even if I am fifty two trying this out as a hobby. What I like about this book is that it teach's
by doing a host of low tech games. I learn better by direct full examples and even though the games are very low in scale it does teach me more than say "Head First Java" which is nothing but a bunch of snips an not very exciting at all. For the Amazon price you just can't go wrong. It's a no brainer.

This is a great book for parents to share with their kids who love video games and have an interest in computer programing. The design of the book is perfect and the conent is easy to apply, even for a computer programing novice. In fact, schools would do well to incorporate it into their computer curriculum as I never met a kid who didn't want to beat the game. I "used" the book with my son and we had a lot of fun developing a program together.

I cannot stress enough how helpful this book is. Since I got my first copy I have used I have learned a lot from it and used it for reference more times than I can count. Even if you do not know how to program, this book will let you create video games that you will have hours of fun writing and playing.

I enjoyed reading the book and it helped reinforce my programming skills, particularly with using graphics and sound. The games were cool and overall it was a fun and interesting book.

This book not only explains PSIP it also "connects the dots" for the broadcast and cable system. Mr. Eyer has provided a valuable resource that is easy to read and understand. Any engineer "worth his salt" should read this book.

The 13818 and the accompanying ATSC and DVB specs are powerful, flexible, inclusive, and incomprehensible. Mr. Eyer does a fantastic job of deciphering the important information and even provides sample streams which are more useful than any diagrams when you're sitting in front of a scope. Highly recommended if you are working with ATSC SI information -- engineers and technical managers alike.

A few people usually participate in the development of complicated systems standards. A few more learn directly from the standard. Most of us rely on books to understand what's really behind a standard like PSIP. Mark Eyer does a fantastic job explaining what PSIP is about and what it means for the digital television industry. PSIP is critical to making digital broadcast television work for consumers, and Mark's book wraps it up in a highly readable, complete package.

This book, written by one of the primary authors of PSIP, is a comprehensive look at what PSIP is, what the information carred by PSIP is, and how to use it.

There are very few books available that explain in detail the standards and specifications for the ATSC digital television system. This is one of the best, taking on one of the most complicated and confusing topics.

Anyone involved in digital television, including broadcasters, programmers, PC and receiver designers, technology journalists, etc., should have a copy of this book on his/her shelf.

Paul Thomas Anderson, writer-director of the absorbing Sundance fave HARD EIGHT (1997), the brilliant, sprawling 70s epic BOOGIE NIGHTS (1997) and the utterly enthralling, 3-hour mosaic of pain, sickness, death and loneliness in the San Fernando Valley MAGNOLIA (1999), returns to form yet again with his utterly bizzare and very fascinating sounding 90 minute dark romantic "comedy" PUNCH-DRUNK LOVE (2002). The film stars Adam Sandler and Emily Watson as two nearly insane people. Sandler plays Barry Egan, a lonely businessman (his only friend seems to be a co-worker named Lance, played by Anderson comic relief fave and ensemble lover Luis Guzman) with 7 abusive sisters. Watson plays Lena Leonard, a quirky young Englishwoman who is one of his sister's (Mary-Lynn Raksjub--love her!) friends from work. They get (jokingly) set up on a blind date (I believe they meet first, then go for dinner), and love is in the air. He plans to buy lots and lots (and lots yet again) of pudding for a chance to win frequent flier miles in a contest. This will lead to a Hawaii trip that would go right, but Barry's depressing recent past stands in the way. He was conned upon calling a phone sex line (to a woman named Georgia)--seems she wants more money than he should have to pay and this leads to a dangerous group of Utah thugs coming to the Valley to collect for their sleezy pimp leader (played by the great Philip Seymour Hoffman, the only actor yet to be in all 4 P.T. Anderson pictures). This all combines to what sounds like one of the best new films of the fall season, and possibly one of the best of the year. Ebert and Roeper loved it and it was a hit at many film festivals it attended. Sounds great. Anderson's script is shorter than MAGNOLIA's 194 pages or BOOGIE NIGHTS' 152, and even his debut HARD EIGHT'S (no script published yet--the running time was 101 minutes!). This (literal) change of pace for the Altman-Scorsese-Demme-influenced young auteur promises a "joy ride" of epic proportions, if not length. His scripts (including this) are published as "Shooting Scripts". This means it's gone through some changes since the "Reading Draft(1st draft)", but Anderson thinks visually, directs very much in that vein, and has been known to write very much like that. His scripts contain much camera description and as little scene description as possible. As he said in the BOOGIE NIGHTS script book introduction, "I've come to realize that my function as a director is to be a good writer...My obligation as a director is to deliver the actors a good script, thus making my job as a director describable as 'hanging out' and watching them go. No good actor needs direction beyond 'Let's do another one' and 'Keep it simple.'...There is no flour and sugar...this is a script written for actors. An actor does not need a full description of their character...This is how most screenplays are written... This sort of thing must be written by writers who have no interest in meeting or socializing with actors. If you have written this and you can find an actress to play this part, as described, you will have a bad actress. Actors do not need this, they don't want it. Don't give it to them; they will not read it anyway. This is writing for studio executives. Studio executives do not make movies. They pretend that they make movies. This is a script written for the people who really make the movie, people who physically put it into existence, and all they need are the facts. Pure and Simple." This is a philosophy that is rare and much needed in Hollywood and Independent Cinema nowadays...Scripts rely too much on the "telling" of a story and not enough on the "making" of a story. People who know where their story is going before they pick up a pen, type one letter, or even think of an idea, will never write a great screenplay that way. You have to let it unfold for you and for the audience...

Paul Thomas Anderson, writer-director of the absorbing Sundance fave HARD EIGHT (1997), the brilliant, sprawling 70s epic BOOGIE NIGHTS (1997) and the utterly enthralling, 3-hour mosaic of pain, sickness, death and loneliness in the San Fernando Valley MAGNOLIA (1999), returns to form yet again with his utterly bizzare and very fascinating sounding 90 minute dark romantic "comedy" PUNCH-DRUNK LOVE (2002). The film stars Adam Sandler and Emily Watson as two nearly insane people. Sandler plays Barry Egan, a lonely businessman (his only friend seems to be a co-worker named Lance, played by Anderson comic relief fave and ensemble lover Luis Guzman) with 7 abusive sisters. Watson plays Lena Leonard, a quirky young Englishwoman who is one of his sister's (Mary-Lynn Raksjub--love her!) friends from work. They get (jokingly) set up on a blind date (I believe they meet first, then go for dinner), and love is in the air. He plans to buy lots and lots (and lots yet again) of pudding for a chance to win frequent flier miles in a contest. This will lead to a Hawaii trip that would go right, but Barry's depressing recent past stands in the way. He was conned upon calling a phone ... line (to a woman named Georgia)--seems she wants more money than he should have to pay and this leads to a dangerous group of Utah thugs coming to the Valley to collect for their sleezy ...and leader (played by the great Philip Seymour Hoffman, the only actor yet to be in all 4 P.T. Anderson pictures). This all combines to what sounds like one of the best new films of the fall season, and possibly one of the best of the year. Ebert and Roeper loved it and it was a hit at many film festivals it attended. Sounds great. Anderson's script is shorter than MAGNOLIA's 194 pages or BOOGIE NIGHTS' 152, and even his debut HARD EIGHT'S (no script published yet--the running time was 101 minutes!). This (literal) change of pace for the Altman-Scorsese-Demme-influenced young auteur promises a "joy ride" of epic proportions, if not length. His scripts (including this) are published as "Shooting Scripts". This means it's gone through some changes since the "Reading Draft(1st draft)", but Anderson thinks visually, directs very much in that vein, and has been known to write very much like that. His scripts contain much camera description and as little scene description as possible. ...

One of my new favorites, "Punch-Drunk Love" is a unique and spectacular story about a man who doesn't know how the face the world around him. That man is Barry Egan. He has seven sisters who have verbally abused him since he was little, causing him to, now all grown up, get into violent outbursts. Barry's a quiet and shy guy, but if his button is pushed things can get out of control. He meets Lena, a very strange and peculiar girl herself. Love falls upon these two, but Barry's even facing more problems after being blackmailed by a phone-sex operator. But when all else fails, he knows that he has a love in his life in this very oddball and dark comedy.

I'm glad they came out with a script version of the film that you can buy. Paul Thomas Anderson has written a magnificent picture that's so easy to relate to , it's scary. The stuff that occurs you can see happening in real life. It's realistic and surreal at the same time.

This is the shooting script, on blue, pink, and yellow colored pages that symbolize when the revisions were made. Technical terms such as camera angels are included as well since it is a shooting script. Even little changes are mentioned as well. I love the dialogue that was written and you can tell that P.T. had Sandler in mind for the part, because nobody else would've been able to pull it off. While it's not your typical comedy, I thought it was hilarious. It pretty much follows the movie, although some things aren't there or changed due to changes that occurred during the shooting. It's pretty much all there for the most part.

"Punch-Drunk Love: The Shooting Script" is a great purchase for anyone who loved the film. It may not had been the most popular movie to come out of 2002, but it's #2 on my list. The pages fly by with ease, and when you're done with it you want to read it again. I can't wait for this movie to come out on DVD. I'm counting the days. A spectacular script for a spectacular film.

I love being able to read P.T. Anderson's shooting scripts. His films are fabulous. I believe one of the negative reviewers partially misses the point when harping on the misspellings, the rambling monologues and how PTA's scripts are saved by the actors. The whole point of a script is that it is the first rough draft -- the framework -- upon which a movie is built. Of course there are going to be improvements between the script and the final product. The reason to buy this, or any, shooting script is to see how the project evolved from script to screen. In the case of Punch-Drunk Love -- much more so than Boogie Nights or Magnolia -- it's fascinating to find that almost every important scene was tweaked, sometimes in a major way, before this wonderful film reached the screen. ... It's a great chance to get some insight into the stages of the creative process of one of America's finest directors. ... BOTTOM LINE: Does this book have all the bells and whistles of the Boogie Nights and Magnolia shooting scripts? NOPE. Is it essential for the PTA fan? YUP.

This book is both thought provoking and challenging. I realized that time may be short for our nation unless each of us is willing to sacrifice to uphold righteousness. Every American should read this book.

Red Sky in The Morning is a very sad, but well writen, very smooth book. It is for those of us who sit down in a corner and treat every word in a book like our child, because that is how this book must be written. Very good, and deeply recomended.

I've been teaching thru this book, and the video series. My class has responded to this series better than any other. I've read most of Dr. Bright's books and materials. Other than Witnessing Without Fear, I think this may be his most important work ever. Definately worth the time.

This one really makes it clear how for down the tube we have traveled since the founding fathers fought for religeous freedom for the U.S. It is so obvious how much our forefathers depended on God in the forming of this country. They established our form of government specifically to keep government from interfering with our religeous rights. The U.S. was established as a Christian nation and now has strayed away. Thanks to Bill Bright for all the documentation on this subject.

I received this book from Amazon yesterday afternoon and just finished reading it. It's not long, but I did skip through a number of sections where films were listed and described.

Having just completed a dissertation about the use of film in the classroom--although I found what was said in this book to be consistent with the literature and my own study findings--I subtracted a star for three missing pieces: lack of an index, more information about the logistics of showing a film (invaluable for teachers for whom this is a new activity), and more of a research base to address "why do this and not that." A further review of their references indicates that a basis for Teasley and Wilder's approach exists, but isn't used sufficiently for justification of their recommended methods.

For example, there are a lot of explanations made about appropriateness of a film to the audience which translates to development. Just a few references to pertinent developmental psych (or even cognitive, educational psych, or human development) would have been useful to explain not just "what" but "why." Although they do mention "deep structure" in their explanation of genre, they do not link it to the characteristics they ask learners to look for in genre films.

There are a number of good references included, but many more are missing. For teachers disinterested in this type of information, it might be included in one chapter that could be skipped. That would add significantly to the book's sparse theoretical foundation and make it equally useful for academics and researchers as well as practitioners.

Other research areas germane to learner response to film, for example, are the function of "mirror neurons" in terms of character identification and empathy, and a study by Israeli neuroscientists indicating that there is no consistency between participant brain scans while viewing a feature film, EXCEPT when they're watching faces, places, and hands--all external stimuli. (This research--the only of its kind--discusses what's actually going on in people's brains when they are watching film.) Nor did the authors directly address learners' worldviews and how they affect expectations, reactions, and the impact of films--which is huge.

I suppose I'm talking myself into writing a book to fill these gaps, aren't I? After having searched far and wide, there's very little available to help teachers both select and use film effectively. In our media-saturated society, it's a very good skill for teachers to develop, but one not as obvious or simple as might be assumed.

These criticisms aside, this book takes a leap forward in helping teachers who want joy and excitement--not to mention learning--to return to their classrooms. For anyone unconvinced how involved kids get with movies, just visit the Internet Movie Database (IMDB) forums. Kids are watching and discussing movies with or without responsible adult guidance. As educators, we're missing a huge opportunity here. This book--via highly practical and well-thought-out methods that are, in fact, based on theory--is an excellent start of a return to relevance in the classroom.

As a teacher of film studies in high school, I have found this book to be an invaluable source. It is full of intelligent, comprehensive and workable plans for teaching all kinds of films. I recommend it highly.

This book is full of excellent suggestions on how to teach film to young adults and help students analyze what they're viewing. It provides a very workable strategy for using film in the classroom, as well as gives great suggestions on unique film titles to use with students. Any teacher wanting to use films in class should check out this book!

This book is great for creating plans to teach film and media literacy to secondary school students.

What a novel idea, that movies are more than just entertainment. The author points out that watching some of the traditional Christmas movies (It's a Wonderful Life, A Christmas Carol) makes us feel safe and comfortable. They relieve stress and give us a feeling of control.
I remember my family having a ritual of watching Yankee Doodle Dandy every fourth of July. Even now, if I sing a few lines from one of those songs, my sisters join in (40 years later) with all the words.
Movies like these, are "very rich in spiritual messages," according to the author.

"Reel Fulfillment"
A 12-Step Plan For Transforming Your Life Through Movies
Maria Grace, Author
McGraw Hill, Publisher
ISBN 0-07-145907-3

Reviewed by Donna Van Straten Remmert,
Author of "The Littlest Big Kid" and "The Jitterbug Girl"

If you love movies as much as I do, "Reel Fulfillment" is an insightful guidebook that will entertain as well as transform you. It will explain why you love some movies enough to see them over and over again, and why you laugh or cry your heart out each time. Psychotherapist and author Maria Grace is well known in Austin for her live, standing-room-only movie reviews that humorously and poignantly probe into our psychological make-up and help us realize truths about ourselves, as reflected by characters in the movies. She is also well known at SCN for her fabulous Be Our Guest presentation. If you've witnessed Maria's gigs, I know you haven't forgotten how delightful they were. The same is true about "Reel Fulfillment". It's delightful.

Maria moved to New York City a few years ago, and she has already received a great deal of praise and recognition for her inspiring book, her seminars, and her ezine that I highly recommend as a way to continue analyzing your responses to movies after you've read "Reel Fulfillment". Each week's ezine is about something new and different and it's always fun and thought provoking. This week's challenge, for instance, is to watch movies that are about food cravings. She tells you some of her secrets for relating to food in a more healthy way, learned from having attended a spa in Brazil, she invites you to click onto her 60-minute seminar "Eating Without Guilt: The Joy of Conscious Eating" and she asks you to watch two fabulous movies about food to better understand yourself: "Chocolat" and "Real Women Have Curves". Go to www.mariagrace.com to learn about Maria's adventures and to read more about the ezine that's free for the asking. Subscribe!

Thanks to "Reel Fulfillment", I can now say it right out-I am a movie addict! I watch at least one, sometimes two, movies a day. In the privacy of my bedroom where I can laugh or cry to my heart's content. I'm obsessed, and I now know that I don't need to feel shame or guilt for spending so much relaxation time in bed, because through my obsession and with the help of Maria's 12-step plan for transforming my life through movies, I accomplish major self-awareness fetes. There is a Questions to Answer section in each chapter of "Reel Fulfillment". I glance at these questions in advance of watching a movie recommended by Maria in that chapter. Then, as I'm watching, I think about possible answers to these questions, viewing the movie as if it were a story about my life. Metaphorically, it usually is!

After my movie(s) for the night is over, I sink into my unconscious for a good night of dreaming. When the movies I've seen are especially relevant to my life, they often trigger fantastic dreams that reveal things about me that I'd otherwise not know consciously. What a gift! Imagine all of the unlived lives I've been able to experience through this process!

I am so in love with Maria's work that I flew to NYC to attend one of her seminars. She's better than ever, and what a good excuse for having fun in The Big Apple. Reading "Reel Fulfillment" is like being with Maria again. Order an autographed copy and browse her other learning tools at her online store at www.mariagrace.com.

Life should be as happy as we can make it. Life should be as fulfilling as we can make it. Life should be as free of fear and doubt as we can make it. No one book, no one program can provide all these needs. But this work, Reel Fulfillment, is certainly a tool you will want to add to your tool box. If you are building a house, you cannot do it with only a hammer. You must have saws, screwdrivers, rulers, pliers, and on and on. To build a full life you must have many tools also. Most certainly, this work, I feel, can be one of those tools, quite an important tool, actually. What a unique and fascinating concept...using movies to help analyze your life and help correct those little and big blimps and bumps in life that we all encounter. This is not a just a book about "going to a movie and feeling good." It is far more. The author, Dr. Grace, gives us a twelve step plan or program for truly changing the way we perceive ourselves and the way we meet and treat the various crises and challenges we all encounter. The subjects, Gaining Inner Clarity, Emotional Health, Joy, and Gaining Spiritual Fitness, are all more or less hung on a unique framework, on the concept of movies, on the stories that we can relate our own experiences to, and learn from, which we see on the screen. We can and, indeed, do learn from these stories.

Movie, of course, are art. Who has not been emotionally changed by a great piece of literature, a great painting, a wonderful photograph, a deeply felt and written poem or one of the world's great paintings. Most of us can be driven to either tears or great joy by any of these. Movies are no different. More importantly, with movies, we can learn from the stories these artists, the movie makers, writers and actors bring us. We can relate. I dare say that not one person reading this review has ever not been moved, in some way, after watching some film story at some time in their life. Dr. Grace has given order to this. Each chapter includes a wonderful section of self examination, profound questions, which, if answered truthfully by the reader, can indeed shed great light on our inner being. She has been able to articulate what most of us actually know, but we simply did not know we knew. She has given us a tool and then explained how to use that tool effectively.

Now, this work, like any work in this particular genre, is only effective if you actually DO IT! I wonder how many "self help books" are purchased, skimmed, shelved and forgotten. You actually have to work through the program for it to help. Folks, there are no free lunches...you get out of something just about what you put into it. This book is no exception.

On the other hand, if you want to purchase it, skim it and then shelf it, that is okay too. As an added bonus, even it you don't work through the doctor's program, you will certainly pick up some great tips to make your movie going far more pleasurable. You really cannot loose with this one. I highly recommend! Recommend you add this one to your library.

This new self-help book is really good with this new method of watching movies combined with exercises in each step to find fulfillment.

At the beginning I thought it was about analyzing movies but was pleasently surprised that the method uses the movies to help the reader find answers and create awareness. I did watch a couple of the movies suggested and then followed the exercises and it really works.

I highly recommend this book to anybody who likes movies. Watching them from this new angle will make you enjoy even more your favorite films and even better appreciate the ones not so good.

Jean Rouverol recreates those traumatic years with sensitivity, care and love. With a young family she and her husband not only managed to get away from, (rather than escape), the harrassment of anti-communism in Hollywood but also managed to create a new and productive live in Mexico. Her prose is crisp and very readable.Her sense of humour never fails. Her message is clear- if you believe in it you can do it! One of the few books I have read cover to cover in one sitting.

Jean Rouverol has written here a rather readable personal history of a very public assault on civil liberties (such as they were and are in the US) during the post-WWII Red Scare.

While it does not appear to have been her intention to delve into the politics of the period except as it pertained to women in general and her family (and the expatriate community in Mexico) in particular, especially during the blacklist, the inquiring reader is left wondering, for example, what happened to Rouverol's husband, screenwriter Hugo Butler, perhaps during their Mexican exile, to lead him to celebrate the display of Italian Communist Party banners in Rome even as he wishes that Party to lose the 1960 parliamentary election in Italy -- he, like his wife, having been a member of the Communist Party USA. But then, she tied up the loose ends of her family's Mexican experience somewhat hastily, leaving one to speculate as to whether Butler's political regression was a result of his overall mental deterioration -- a condition Rouverol noted. Nevertheless, her detailed account of their life in Mexico -- the focus of the book -- makes this a worthwhile record of survival during an intensely repressive time.

I was a teenager at Hollywood High during these dark years. Struggling to understand the turmoil and politics that my family was living through. Each day I saw the pain my loving, idealistic father was enduring as more and more of his friends and coworkers became ensnared in the stupid net of fear and accusation that was spreading through his industry.

Jean's story of their quick decision to slip across the border with their children and their day to day challenges of providing a good education and rich family life as exiles makes great reading.

Rouverol's clean prose and unsparing eye will draw readers into recollections of her family's life on the run and the work they scared up to support their nearly decade-long stint underground. Poignant and unapologetic, Rouverol's memoir juxtaposes the support they found south of the border with the unrelenting weight of living as fugitives. -- Publishers Weekly

I always love White's writings in the City Sun and Film Comment, and here they all are in one place! He's a real rebel, and his opinions are as shocking at times as Pauline Kael's were in the early 60's, when her voice was new (and an affront to the Bosley Crowthers of the world). Highly recommended

Everything you ever wanted to know about movies, music of the past decade is in this book. White is a brilliant critic and thinker. I attended his music video lecture in Dallas and was astounded at the wealth of information and insight he provided. This book is well worth reading, but Overlook Press ought to put it out in paperback so that more students of music video and movies can afford to have it and underline th e great insights and critiques. White is the best culture critic working in America today.

When I started reading White's controversial reviews in the New York Press I sought out this collection for more of his urbane insights and fearless honesty. This is one of the best books of cultural criticism I've ever read. I've recommended it to my American studies professors and he has already promised to use essays from The Resistance in future classes. (The Schindler's List and Spike Lee and Terence Davies pieces are especially detailed interpretations.) Among my favorties chapters are those devoted to the British singer Morrissey and the devastating critique of Quentin Tarantino's Pulp Fiction. "Tarantino may know New Wave conventions, but he doesn't understand New Wave convictions," White says and that hits the nail on the head. What a brave, beautifully written book. I recommend it to everyone who cares about modern culture, whether film, music, TV. Everyone should know this book.

Finally! A book on pop culture that's more than a flashy press release stating the obvious--which is what most of today's criticism consists of. Finally, a book filled with intelliegence, sensitivity, careful observation and damnit--PASSION! Armond White is making sense of all the nonsense that's put out there for public consumption. For those not familiar with Armond White's work, be prepared for a shock. Along with some very fine reading; Mr. White writes on figures as challenging and popular as: Michael Jackson, Prince, Steven Spielberg, LL Cool J, Public Enemy, Eddie Murphy, Spike Lee, Madonna, Ice Cube, Brian DePalma, Janet Jackson, De La Soul, Morrissey, Metallica, Marky Mark, RuPaul, Dr. Dre, Quentin Tarantino, Fab Five Freedy, Robert Altman and many, many more!
It's not that Mr. White covers these subjects--many of these guys get coverage in such mainstream magazines like Rollling Stone, Spin, Premiere, Etc... But here's what makes Mr. White special--he writes, no he looks past hype and investigates a particular work of art and looks into what makes it special (or not so special). In short, he makes a careful examination of the ideas that these works bring up. Ideas that usually are ignored or glossed over in mainstream pop journalism. In doing this, he exposes the biases inherent in most pop culture reporting and also the segregation in pop journalism.
Subjects covered here include: the appropriation by the mainstream of hip-hop culture, the rise of Black independent and Hollywood filmmakers and the challenge (or lack thereof) their films provide, the deceptive (or is it Death-ceptive?) funkiness of Dr. Dre's music, Increasing visual illiteracy in the watching of movies, Steven Spielberg and why despite his poor crtitical reception--he matters, Understanding Michael Jackson (you'll won't find this ANYWHERE else!), etc...
The more you read Mr. White's prose, the more you'll witness for yourself the revelation it is. Take for example this excerpt !from UNDERSTANDING MICHAEL JACKSON;
(on MJ's changing physical complexion)

"...only the intimates of Jackson's life have a right to complain--or be surprised--at the physilogical changes he has made of himself. The skin lightening, eye widening, nose sharpening, chin clefting, plus hair weave and processing are mad-scientist variations on the ethnic grooming and image creation that have long been part of the Black performer's understood contract with the white-controlled world of show business. Most artists submit to it to some degree. Jackson's only gone the Jewish entertainer's nose-job ritual--known as the "Hollywood circumsicion"--several organs better..."
See! And that's only on the first page! Check it out!!!!!!

This book is a have to have for anyone who loved the movie "The Mummy". It is very informative not only on the storyline and characters but also on the behind the scenes and the special effects. The photographs are great. Great movie, great book!

Like so many others, I got hooked on the new Mummy movie. For one thing I found the "bad guy" very appealing. I bought this book to find out further information on the characters and on the making of the movie, and found it very informative and a lot of fun. The information on the special effects was interesting and expanded the information of the subject found in the additional features of the DVD version of the film.

The info and pictures on the movie is very abundant.And the pictures are very good.This is a good book.The movie is good too.Buy it.You won't regret it.

I've seen the movie "The Mummy" 3 times already and was very curious how they did the incredible special effects. This book really gives a good overview of not just the special effects but also all the cast and characters and the people behind the camera. Great movie! Great book!

MY HUSBAND & I ARE AVID DOO-WOP FANS & WE HAVE HAD THIS BOOK SINCE THE EARLY 80'S. WE LOVE IT & USE IT OFTEN. OUR FRIENDS HAVE ALL BORROWED IT SO MUCH, WE HAVE BEEN BUYING AFFORDABLE COPIES TO GIVE THEM! I CAN'T SAY ENOUGH ABOUT IT - IF YOU'RE A FAN, YOU'LL LOVE IT!!!!

For anyone who lived through the early beginnings of Rock N Roll, the 50's and 60's this book is a goldmine. It lists by artists most all of their charted records and some others that might not have made the charts but that were essential to the development of Rock N Roll.

It contains many photos, facts about the artists, months & years that the songs were released and the record labels.

I grew up during the 50's and was there when it all happened, so for anyone interested in collecting music from that period, I HIGHLY RECOMMEND this book

I bought this book way back when it first came out and also have the 2nd edition (encompasses the 60's).

I read that the price for a used copy is $30.00....WELL, I wouldn't sell mine for $300.

Over the years, it has been my most used book in my possession.

I wish I had a copy on CD....

I rate this volume and the 2nd edition 5 Stars ONLY because there is nothing higher....

I didn't really love music untill Rock and Roll was invented. I went to all the Alan Freed Rock and Roll Shows, to the Apollo, and the Murray The K shows. I am an old baby boomer, and no books that I know of are more complete and accurate the Norm N Nite's Rock N' Roll The Solid Gold Years, and the other two that followed it up. If you love rock and roll you got to have those books. I wish they would reprint them, because the condition my coppies are in is not great. The books are so great that I would buy new reprints because I have used my original quantities so much, they could be in better condition.