Television Books

"The Truth about Being an Extra: How to Become a Good Background Actor" by Jo Kelly is an amazing book. Finding each and every page interesting, exciting and filled with valuable information, I read it nonstop from beginning to end. I even found valuable information in the introductory sections before the first chapter and in the information at the end of the book. I devoured this book with enthusiasm from cover to cover! Jo Kelly's writing style is friendly, informative, encouraging, and easy to understand. She provides examples of scams and problems she encountered early in her career as a background actor, and explains how she eventually received many successful jobs in background acting once she learned the ropes. She also provides lists- -including addresses and phone numbers- -of legitimate casting agencies for background actors. After reading Jo Kelly's book, I felt that becoming a background actor is a very real possibility, and that it would be tremendous fun!

In "The Truth About Being An Extra", Jo Kelly (founder of Background Actor Seminars) draws upon her years of professional experience as a veteran background actor and her personal insights as a former celebrity wife to reveal "inside secrets" to becoming a successful "background actor", that is, one of those folks you see in movie and television scenes of crowds, passers-by, restaurant diners, etc. Readers will also learn of scams and pitfalls that can happen to naive actors accepting walk-on, background roles in movies, television and commercials when they register with casting agencies. A compendium of solid film industry information, invaluable advice for newcomers, illustrative anecdotal stories of her own experiences, practical tips for securing background acting jobs, locating legitimate casting agencies, as well as becoming both comfortable and professional on the set, "The Truth To Being An Extra" should be found in every college Theatre Department's reference collection and considered "must reading" for anyone aspiring to a background acting gig.

This is a quick read that is full of interesting tidbits of information providing a rare glimpse into the world of working as a background actor in the movies. It is not a detailed guide by any means but it does give the reader an overview of many things aspiring "extra" needs to consider as they travel this career path.

Author Jo Kelly comes across as knowledgeable and very personable in her style of writing. Kelly generously shares her knowledge to help newcomers avoid some of the mistakes she made. Her numerous stories from the trenches offer insights into how the real world works and serves up helpful warnings for the neophyte.

The author offers many very specific recommendations with all the necessary contact details. Unfortunately, for readers outside California, the contacts in "The Truth About Being An Extra" seem to only apply for those in Los Angeles (Hollywood). Other interested readers could probably use these listings as a guide and seek out comparable resources in their own part of the world. For example, Canadian actors might find the book useful for its general advice but then need to go a step further. They would need to seek out the agents, agencies, and specific organizations that are relevant in Canada if that's where they plan to start their career as a background actor.

Kelly discusses both general and specific issues. She mentions child actors, parents of child actors, and actors with disabilities as examples of situations with unique considerations. The glossary of the vocabulary used in the industry adds even more clarity.

As a complete outsider to the world of movie making, I came away feeling I had a bit of insider knowledge about the day-to-day reality of a career as a movie extra. It was a bonus to also learn Kelly's fascinating personal story about how she happened to write this book. Widowed in the early 1990's, her original goal was to make a career change by breaking into the world of background acting! Once she learned to be a good movie extra, she then moved on to give presentations, run seminars, and write this book.

What makes this story within the story so interesting is that she had a major hurdle to overcome first - she had to conquer her fear of public speaking. She gladly credits Toastmasters for helping her deal with that challenge. And the rest, as they say, is history.

Author and veteran movie extra Jo Kelly candidly shares her experience in the field of background acting for films in Los Angeles, CA. Included in this handy guide is contact information for casting agencies and casting agenies, calling services, production studios, and tips for how to join the Screen Actors Guild. The business of background acting (from tracking expenses, finding the location of the shoot, and where to turn for tax preparation help) are also covered. This is an excellent gift book for any aspiring actor interested in learning the ropes of show business and finding his-or-her way around LA. Give one to your community theatre director and pass the information on to others who'd like to work as a movie extra.

A great little book for anyone interested in getting into the "extra" game. Jo Kelly gives lots of very practical advice and good "do's and don'ts" for the first-timer. I especially liked her guidance for those about to appear as a background actor for the first time--she takes away some of the fear of the unknown and tells you the most important things to be aware of BEFORE you step on the set. She also provides excellent resources for child casting, calling services, talent agencies, and scams you may encounter as you get into the field. Definitely recommended for anyone thinking about being an extra, or anyone who has done it and wants to learn more.

A fantastic book about the fastest growing area of DVD releases at the moment, TV series! With breakdowns of cast and guides to the best episodes and releases I only hope enough credit goes to the website [...] who helped TV Guide put this book together!

Fantastic resource for anyone who likes watching reruns and is interested in contemporary tv culture. There are loads of forgotten facts in this book for all the classic tv shows and new ones for current programs. This is an inheritently readable book that belongs next to everyone's tv!

The descriptions of the shows are priceless--they brought back so many memories! And the guide covers a lot of shows that are new or still running, like 24 and ER. I'm not even a serious DVD collector, but the book gives great trivia about all my favorite shows (when they aired, what the names of the original stars were, which episodes went down in TV history). This book is really a history of TV in America, and it covers so many different categories that it really does solve the gift problem for just about everyone on my Christmas list. They won't be able to read just one or two of the listings; once they start in, the trivia will have them hooked. It's organized like a reference book, but It reads like an entertainment magazine.

If you are a tv junkie like me, this book is a blast. It's a handy offline reference to all the shows now available on DVD, and it's filled with lots of trivia and lists. Be ready to shop because the book will make you want to buy even more DVDs for your home library...

This book isn't perfect (I'd rather have more pictures of DVD set covers than old TV Guide covers, for instance, and the descriptions are a bit dry in places), but it IS cool to have a handy-dandy reference like this to use when you can't get online to look up the info. Good to take to the store or keep next to the TV. And if you read the fine print, you'll see that this book was made with the help of data from TVshowsonDVD.com, which is the best place I've seen online for that sort of info. Cool 'dat, and maybe for the next edition of the book TV Guide will work more with that website's staff to talk more about what's new, what's not out (any hints as to why), and what's expected to come soon. You know, show more of the TV-DVD enthusiast in this book...there's a lot of us out here!

I came across this book through a recommendation. I'm so pleased I did.
As an admirer of Duke Ellington's work, I knew of Adelaide Hall, mainly through her connection and early recordings with Ellington, but knew little about the lady herself or her significant achievements in the world of entertainment.
In the books preface, the author, Iain Cameron Williams, claims Adelaide Hall appears in many jazz anthologies as a mere footnote, whilst others abandon her career altogether. With "Underneath a Harlem Moon" Williams attempts to set the record straight by documenting comprehensively her exact relevance and role in the History of Jazz and, in my opinion, succeeds admirably.
Williams's familiarity with his subject clearly demonstrates the amount and depth of research he made in order to unearth the facts. One gets the distinct impression that during the process he left no stone unturned, so detailed is his descriptive. Although Williams's 20-year friendship with Hall must clearly have helped him in appraising his subject's temperament, it must also have allowed him the privilege to see an intriguing side to her character that her fans would not normally have seen. This becomes apparent the deeper one delves into the text.
The book charts in rich detail the life and career of Miss Hall during the frenetic Harlem Renaissance and documents all the colourful characters to emerge from this movement, most of whom worked with Miss Hall at some point in her career. It also gives a fascinating insight into the social history of the Twenties and Thirties when Prohibition, real-life gangsters and sophisticated nightclub culture ruled the sidewalks.
Overall, a hugely enjoyable read made easy by Williams's approachable style of writing and keen interest towards the characters he portrays within the text. A must for all jazz and popular music buffs. The book also contains a sizeable gallery of superb photographs (including one, which must be of great interest to all Ellington fans, a rare previously unpublished photograph of Adelaide and Ellington together, circa 1930.)

With a glittering International career that brought her into contact with such icons as Rudolph Valentino, George Gershwin, Maurice Chevalier and Al Capone, not to mention all her renowned fellow black musicians and colleagues from the Harlem Renaissance, one wonders why the name Adelaide Hall is still relatively unknown or charted in our history books.
Her talent was pure ... untarnished by the ravages of [chemicals] and alcohol. She claimed that she was born to sing and entertain, and with an astonishing career that spanned eight decades how prophetic were those words.
To say I thoroughly enjoyed reading this book would be an understatement. The book has been written in such an appealing way that at times I actually felt as if I were part of the story as a member of the audience, so realistic were some of the events and dramas that occur within its pages.
I wholly recommend this book and can truthfully say that it's the best biography I have read this year.
5 stars for the writer.

I can only applaud the writer for the depth of research he obviously engaged upon in order to put forward Adelaide Hall's story and subsequently, I think this book is an important one.
During the 20s and 30s Hall stood alongside giants in the entertainment world yet today, for some unfathomable reason, she is almost forgotten.
Whilst reading Underneath a Harlem Moon I had an uncanny feeling of discovering hidden treasure that has lain buried for centuries. Thankfully, the writerýs intent to inform rather than lecture makes for an engaging and rewarding read. I certainly had no knowledge of the fact that it was Adelaide Hall who helped create the whole genre of jazz singing and, remarkably, that Ella, Billie and all the other jazz divaýs that are nailed inside our history books, only followed in Hallýs steps.
Williams accounts vivid stories of the glory, persecution, pain and happiness Hall encountered in order to achieve her goals and in the process brings the subject's forceful personality, talent and human nature to light. Hall's focused ambition, drive and tenacity, along with the extraordinary eventful circumstances of her life will drive anyone's interest. Her painful contact with racism, the wrath of her impresario and mentor Lew Leslie, the continual envy she experienced from her colleagues and many of her so called friends, along with the tiresome neglect she endured from her philandering and money grabbing husband all led to an isolation Hall appears to have suffered from continuously throughout her life. Her only escape was to tread the boards, for it was here she felt at home and could bask in the real warmth, love and affection she received from her audience. The stage became her drug and, from the volume of work Hall performed, one feels it was an addiction she had no intention of ever giving up.
Energetic reading with thought provoking facts and the most fascinating account of the Harlem Renaissance that I have ever come across. Williams has done a great job of packing this book with valid information without making it overly wordy which makes for an easy read that fairly flies by.
I hope I'm correct in saying that Adelaide Hallýs prospects could very easy change with the publication of this book.

By documenting Adelaide Hall's early career, which ran parallel with one of the most fascinating and culturally rich era's in American black musical history, the writer not only paints a vivid and well written account of the real first lady of Jazz, he also cleverly portrays the whole spirit and ethos of the Harlem Renaissance and all the wonderful characters that helped create this movement. "Underneath a Harlem Moon" is one of the finest books that I have read about the 20s and 30s Jazz Age and one that I thoroughly recommend.

When we are asked of jazz vocal pioneers, the names Ethel, Billie, Ella, and Dinah roll off our tongues without contemplation. However, Iain Cameron Williams, in his book Underneath a Harlem Moon, introduced me to a diva who had been omitted from the history books. This diva is Adelaide Hall.

Born on "the rough side of Brooklyn" and raised in Harlem, Adelaide Hall became one of the most famous black Broadway and cabaret stars, rivaling the legacies of Florence Mills, Ethel Waters, and the like. Williams traces her journey from an ordinary gal from New York to a famed singer, dancer, and actress, the world over.

Williams, a friend of the late Hall, has definitely done his homework. I could tell that he had sat with Adelaide many a time while she related her stories to him in great detail. While I understand that Williams was trying to set a backdrop for Adelaide's story, I felt as though too much time was spent on the histories of her surroundings and her contemporaries, such as Al Capone, Josephine Baker, and even the Duke himself.

I feel like the proverbial wool has been lifted from my eyes about where female jazz vocalists really began. I took the time to research Adelaide further, and even got a chance to listen to some of her recordings. I can now see clearly, after having read Underneath a Harlem Moon, getting to know Adelaide, and hearing her crooning voice, the profound effect she had on divas past and present.

Reviewed by CandaceK
The RAWSISTAZ Reviewers

This is an excellent addition to the often underappreciated and underwritten field of show biz history. But I've found some curious oversights that should have been corrected. For instance, Al Shean, of Gallagher of Shean, was said to have reprised the team's signature song in only one movie, Atlantic City (1944). How could the far more prominent Judy Garland vehicle, Ziegfeld Girl (MGM, 1941) be overlooked, where Al Shean reprised the number with Charles Winninger standing in for Gallagher? Also, in the Eddie Cantor entry, it's said that Cantor's film debut was a 1913 experimental film for Edison. Is this being confused with the 1922 experimental sound film Cantor did for inventor Lee De Forest (which isn't mentioned)? No reference book is perfect, but I just had to point this out. Plus, with the current popularity of the Jazz Singer DVD with all the Vitaphone shorts, I'm surprised that a consummate vaudeville performer like Adele Rowland isn't listed. But that's minor quibbling; I'm just glad a set of volumes as this is available, and I wish there was another set planned to include more of the alleged 50,000 performers who made up the world of vaudeville!

This is from my review published in "In The Groove" Magazine - April 2007
Frank Cullen LOVES Vaudeville in all it's forms, whether it's the baggy pants comics of burlesque, the "specialty acts" like strongman or eccentric dancers who graced the stages of New York and around the circuits in the 1920s, or the singers who went on to make some of the most popular records of their day. This passion is obvious in the recent publication of the huge two-volume 1300-page compilation Vaudeville Old & New: An Encyclopedia of Variety Performers in America (Routledge). Now in his 70s, Cullen saw his first Laurel & Hardy film at the age of nine and was hooked. (Yes, Laurel and Hardy both appeared on the vaudeville stage early in their careers and Cullen devotes six pages to them.). He started reading and watching and listening in his high school years and had a brief acting career as well. In the mid-1980s he formed the American Vaudeville Museum in CT and began publishing the quarterly Vaudeville Times (which I mentioned here last year). Now relocated to New Mexico, Cullen has put his energies into this fascinating book. The peak years for "Vaudeville" were 1905-1925, with over 2,000 theaters around the US. As many as 50,000 performers were in the business during that period. Obviously, not all are in the book but a good mix of the known and the "lesser known" are here. Record collectors will recognize many of them. There are the recording Bakers (Belle, Josephine and Phil) as well as the Smiths (Mamie, Bessie and Kate). Other recording artists covered in much detail include, Eddie Cantor, Sissle & Blake and Moran & Mack. The performers are listed alphabetical from A (Abbott a& Costello) to Z (Zetts Weekly, a rival to Variety, published in 1921). There are sections devoted to each of the "circuits" and the impresarios as well. Photos of the performers and sheet music covers are on many pages. In fact, you'll find a lot of performers who you've only known from sheet music covers. The very handy Bibliography and a 30-page Index, make the book even more useful. Whether you start from the beginning and read it straight through, or use to look up an artist you found on a recording, you'll find this book a great resource. It's a tribute to the hard work and passion of the author. Highly recommended!

Steve Ramm "Anything Phonographic"

A monumental and definitive encyclopadia by an outstanding theater historian. This tome is everything you wanted to know about vaudeville and its performers. It is destined to become the bible for historians and researchers of early American popular theater.

Frank Cullen's knowledge and articulation of the facts of vaudeville, old and new, is a welcome and needed addition to a genre sadly overlooked by the public. Vaudeville was America's first national pasttime and laid the foundation for the world of entertainment in our contenporary culture.

Nicely laid out, easy to read, ample photographs and humor make the two-volume set a must for libraries, archives and theater buffs, or anyone who has an interest in American social history.

Frank Cullen, longtime publisher and head writer of the Vaudeville Times magazine, has finally published his 2 volume biographical encyclopedia of vaudeville. For those who don't know, vaudeville was the main form of live entertainment in America from 1880 to 1930 and it continued even as late at the 1960s. This book carefully catalogues who was who in vaudeville, tells the major reason they became famous or were important, and offers biographies and descriptions of everything connected with the subject.
Along with the work of Professor Anthony Slide, these tomes by Frank Cullen constitute the most important documentation of this major form of American popular culture. Vaudeville is rapidly being forgotten today as its participants die off and younger audiences cannot even recognize the term. Cullen's work honors the performers and offers invaluable insights into what the experience was like.
The book is well written and, like vaudeville itself, immensely entertaining, whether you are reading about familiar stars such as Al Jolson or the completely forgotten ones such as the great Eddie Leonard. There is nothing to complain about in this effort-- if you want to know all about vaudeville, this is the magnum opus. It is lavishly illustrated and has about it that aura of love and care that comes when a writer is totally engrossed in his subject matter and approaches it with honesty, integrity and admiration.
Of course I have to tell you that I am biased because I'm in the book. I once was in "the show business" in vaudeville and there are only a few of us still alive who made it into the Cullen opus. But those of us who are left can assure you, dear reader, that all those vaudevillians who are encapsulated within would be proud of this book. It costs a good bit but it's got everything you need to know about a subject that once was close to the hearts of so many Americans. What's really fun is watching old movies on Turner, admiring the work of stars such as Eddie Cantor, Ruth Etting, or Trixie Friganza, and then keeping these volumes by your bed to look up the bios! Of course at my age that passes for high adventure! So, thanks, Frank, and good night Mrs. Calabash, wherever you are. If you know the meaning of that last phrase you'll love this book. If you don't you should read it anyway.

All that you could ever want to know about vaudeville is contained in a monumental two-volume work, Vaudeville Old and New: an Encyclopedia of Variety Performers. It surpasses anything previously written about the American equivalent of British music hall and will stand as the major reference work on the subject for many years to come.

Given its scope, there are entries about entertainers whose names will mean nothing to the average British reader. But that is more than offset by the comprehensiveness the authors bring to all they touch. It is fascinating, for instance, to get an American take on British artistes who became big stars in the U.S., the likes of Vesta Victoria and Alice Lloyd. We learn more about such top-liners as Al Jolson and Danny Kaye and find the answers to all manner of questions. What was so special about Fanny Brice? What brought Sid Caesar's career to a halt? And who knew that the distinguished commentator, Walter Winchell, started out in vaudeville?

The books' essays about burlesque and music hall are as good as you'll likely to get and the fine writing evinces some deft and delicate touches: a description of Beatrice Lillie, for instance, is as "a treasured English tea-rose with thorns" is spot on. The "new" in the title is no false promise. The encyclopedia is bang up-to-date with entries on Britain's Chris Simmons, for example.

The extensive knowledge and deep love of vaudeville by the author, Frank Cullen [working with Florence Hackman and Donald McNeilly], shine through in each of these tomes' 1,300 magnificent pages.

Richard Anthony Baker

When I first saw Visions of Armageddon on sale at the bookstore, I often found myself looking at it more and more. So, finally, I bought it.

This has to be a great book on the 1998 blockbuster film. It contains information on all subjects from the film's genesis to final production. Hundreds of lavish photographs and drawing make it even better. It includes interviews with the cast and crew.

However, for people looking for a good book to read, ignore this. The information skips back and forth. One moment they are telling you about how the film began. Then they are telling you about how the special effects were made. Then they are telling about the genesis and so forth. But the lack of definite timeline does not at all hurt the story of the most overcritized film of all time. As Michael Bay said "There is nothing wrong with entertaining people."

If you love the movie, you might want to have it as one of your book collections. It shows the making of the movie & its illustrations. There are also some nice pictures of the cast for those fans who love Bruce, Ben & Liv. Don't miss it!!!

i love this book. it is printed on wonderful paper. it
will last & the fotos are GORGEOUSE! it explains a lot
the stuff behind the scenes & how it was done. more than
just a quickie movie-tie-in. it is worth having on it's
own!

One word on the movie: bad. Still even though the movie sucked, I found myself just peeking at the book while at bookstores. Needless to say I bought the book, and I enjoyed it ten times more then I did the movie. So if you have a choice between the book and the movie, buy the book. You won't regret it.

If you saw the movie, and loved it, go get Visions of Armageddon because it was so good and shows Dreamquest and Vfx how they did those spectacular Special FX. Great pictures from the movie. Jerry Bruckheimer and Michael Bay makes a great team for a fun, high-paced, action-packed movie for the summer! One of my favorite movies of the summer, IF YOU HAVEN'T SEEN ARMAGEDDON GO SEE IT AND YOU'LL BE FEELIN' LIKED YOU GOT OUT OF AN KICK ASS ROLLER COASTER RIDE!!!!

Scandalous! But unlike the sound bite scandals of today, this is scandalous behavior which is also very provocative and thought provoking. Sparsely written in screenplay style, it amazed me how completely it took me into the scenes. It was like tumbling through a magnifying glass into those intriguing background scenes of colored speakeasies in "Fried Green Tomatoes" or "The Color Purple" with the lyrics of the blues moving the story line along.

Despite the title, this fictionalized history goes far beyond anything racial. Author Moncrief suggests that on one level this is a story of acceptance. For me it also stimulates thoughts and debate on many of today's situations: the complicated society of working women, sexual roles and identities, domestic violence, life on the road, the rap artists and the thugs and the players. . . and on and on. This book also inspired me to delve deeper into Bessie Smith research and I guess that is the greatest compliment that can be paid to any author.
"Blues on my mind . . . I said blues."

I loved this book. It gave me the opportunity to enter a world I could never be part of and to see it from the inside. It took me places I never imagined and, as I read, the author's presence faded and I was swept into the world of the characters. I suffered, celebrated, laughed and cried with Bessie Smith and her entourage. I highly recommend the journey.

This book is easy reading so I was able to finish it fairly quick. Actually I couldn't put it down because I was captivated by its subject, Bessie Smith, as well as by the other colorful characters that occupied her world. "When Color Was Cool" is not only entertaining, but also a look into a very significant part of American history that we don't often hear about. After finishing the book, I ran out to purchase a couple of Bessie Smith cds. What an amazing woman! What a delightful reading experience.

When Colored Was Cool is an amazing story, that with its flamboyant characters, brought tears to my eyes. The often comedic and frequently tragic lives of Bessie Smith and her troupe are woven together expertly by an obviously gifted author. Though a work of fiction, I feel as though I have now had very real glimpse into a time long before my own. I heartily recommend this book.

I could not put this book down! From start to finish, it held my attention. I could picture all the characters in vivid images and felt like I was right there watching every exciting moment take place. I enjoy reading about the Harlem Renaissance period and would definitely recommend "When Colored Was Cool."

This is an adorable love movie for anyone. It's witty humor and charming story combine into making it the perfect romantic-comedy! It's great for watching any time, or even when you're feeling blue! It's sure to lift the spirits!!!!

I have been a fan of this movie for years and have seen it well over 500 times. Although I found three minor erros in the transcript while I read the book, It was still great.

...and will never be surpassed. There's nothing i can add. This simply has to be seen to be believed.

I have seen this movie several times, and I still like it. Each time I review this movie, I can gain different thinking. You'll love it if you have it.

As a screenwriting instructor, I'm always looking for material that will help my students understand the language of story. This is it!

There are so very few books that convey a sense of "being there" when it comes to the Kennedy assassination. This outstanding book takes the reader back to that fateful weekend of November 22nd 1963 in Dallas, Texas and does so in an open, honest and compelling manner.

"When the News Went Live" is written by four journalists who were in Dallas on that day covering the presidential visit. Bob Huffaker and the other three newsmen share many interesting stories that you will not find elsewhere and that have been untold for many years no doubt to all but their personal friends. This is why the book is such a valuable contribution to the historical record. Such first hand observation regarding not just those few seconds in Dealey Plaza, the murder of Officer Tippet and the shooting of Lee Harvey Oswald by Jack Ruby, but how in fact the entire story unfolded, makes fascinating reading.

As an aid to anyone interested in the assassination, this book is a must have. I would emphasize - rarely do you find first hand knowledge like this - much of what is written on this subject is written by people many steps removed from the event where fact and fiction merge into one. Not so here. A fabulous book which is refreshingly free of the conjecture and myth that is so common in the Himalayan pile of work on the Kennedy assassination and is highly recommended.

We have become accustomed (yea, verily, some would say desensitized)to horror unfolding before our eyes in our very own living rooms. Bob Huffaker's book brings us back to a time before the desensitization, when we could scarcely believe what our eyes were telling us. I recommend this book highly to those who were there, watching as I was, and even more so to those who were not there. The young, raised in an era of suicide bombers, need to understand that it was not always thus.

1963 nov 22 brought to life again but with more professionalism.some very interesting facts that confirmed my own thoughts .

I stayed up all night reading when my copy of When The News Went Live, Dallas 1963 arrived. This book is a classic and should be included in the curriculum of every journalism and political science classroom in America.

Huffaker, Mercer, Phenix and Wise have written the Texas story of the Kennedy assassination, the inside scoop on Oswald's murder and the history of the evolution of modern journalism. These four men were Dallas television reporters, on the scene and on their own, in the middle of the news story of the century.

It is a salute to their training and their integrity as newsmen that their coverage under duress stands today as a compelling rendering of those fateful moments. I am glad they were the early ones on the scene, for they were the ones who broke the news to me in my elementary classroom. The story gives their perspectives more fully; all these years later, this book helps me understand the events and how they affected Texas and the nation.

Bob, Bill, George and Wes were there in Dallas with their Southern sensibilities. They weren't easily pushed around or manipulated that dark day and still aren't. They were taught to tell the truth as objectively as possible, and they reverted to that training and their good common sense when placed in positions lesser men might have blown or exploited. These four men cared about truth and justice and fairness and still do. I hope all young journalists will read this and learn about balanced reporting.

"With three shots from a mail-order rifle, Lee Oswald set off a worldwide tragedy that developed too fast to print. .... Broadcast journalism came of age in that crisis of grief and uncertainty, and as it drew its mourning audience, it helped to hold the nation together." -- Bob Huffaker; From the Preface of "When The News Went Live: Dallas 1963"

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"When The News Went Live: Dallas 1963", published in 2004, paints a vivid word picture of many of the incredible events that surrounded President John F. Kennedy's assassination in November of 1963, as seen through the eyes of four journalists -- Bob Huffaker, Bill Mercer, George Phenix, and Wes Wise -- who covered those events as they happened for CBS affiliate KRLD-TV and Radio in Dallas.

President Kennedy's shocking and appalling assassination on November 22, 1963, was the very first really big "Watch It Unfold Live On TV" news event of the television era, with four full commercial-free days being devoted to nothing but exclusive assassination-related coverage by all three major TV networks (with KRLD's on-the-scene Dallas reporters frequently feeding CBS-TV headquarters in New York).

And the four reporters whose intriguing stories unfold within this 224-page hardcover volume were right smack in the thick of things during the rapidly-developing events -- from the initial sketchy bulletins that told of the President being shot in Dealey Plaza during a motorcade drive through the city of Dallas -- to the announcement of JFK's death at Parkland Hospital -- to the capture of the accused assassin (Lee Harvey Oswald) in a nearby movie theater -- to Oswald's very own murder on live TV (with Bob Huffaker reporting live from the basement of the Dallas Police Department, where the single gunshot from Jack Ruby's pistol added yet another hard-to-believe chapter to the weekend's nightmarish story).

It was a mesmerizing weekend in American (and television) history, to say the least. And those days are re-lived with clarity in this engaging book by way of the recollections of four men who lived through and reported on those events when they were occurring.

"When The News Went Live" contains several excellent black-and-white photographs, too (some of them I haven't seen published elsewhere).

On a personal level, I have had the pleasure of communicating (via e-mail) with Bob Huffaker several times. He has been very cordial and gracious whenever answering the questions that I had for him. His personal insights into the events revolving around JFK's death are fascinating glimpses into the past, and are insights that I have enjoyed reading immensely.

A sample e-mail excerpt from Mr. Huffaker:

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"David, you're right about the presidential visit and motorcade being the main attraction that all Dallas media were covering, of course. But all our stations had limited capabilities for doing mobile TV, which then demanded either cables or microwave dishes--as well as a receiving dish within line-of-sight beaming or bouncing.

Hence the pool TV arrangements, limited to three planned locations. The local TV stations did live TV from the FTW {Fort Worth} breakfast, Love Field, and the Trade Mart. But this was, indeed, the day the news went live on television, unplanned.

WBAP-TV in Fort Worth had a non-running TV van, which they had towed all the way from Cowtown to Dallas Police headquarters, and we sent both of our KRLD-TV vans into duty--the Bread Truck at DPD and the Blue Goose on the 24th to the county jail, etc.

This was the first time in TV history when on-the-spot news suddenly demanded to go live from the scene. Before that, radio news on-the-spot descriptions such as ours that day were common (like the Hindenburg broadcast--radio only), and live TV was usually reserved for major speeches, sports, etc.

Bob" -- E-mail to this writer; May 30, 2006

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Relating to the subject of "WHEN THE NEWS WENT LIVE", I'd like to offer up the following observations as an extension of this book review.....

To those JFK conspiracy theorists who seem to favor the Oliver Stone-like or Robert Groden-promoted assassination scenarios (that feature a minimum of three gunmen and anywhere from 6 to 10 gunshots being fired at President Kennedy in Dallas' Dealey Plaza on November 22, 1963) -- I always suggest to them that they ought to dig up some of the originally-aired "As It Is Happening" live TV or radio broadcasts from that dark Friday in American history.

After performing that exercise of watching a few hours of the November 22 television coverage of the assassination (in real time), or listening to some of the radio broadcasts in real time (which works just as well) -- I challenge anyone to then arrive at the same conclusion that was slapped up on the big theater screen in 1991 via Director Oliver Stone's blockbuster, conspiracy-laden motion picture "JFK".

Watching the day's events unfold "live" in front of you (or listening to them unfold on the radio as it was happening) should, in my opinion, provide everyone with a good general idea of how utterly impossible a task it would have been to have "faked" so much stuff that was being IMMEDIATELY reported to the world on live television and radio within minutes and hours of the President's assassination (and within a very short space of time following Police Officer J.D. Tippit's murder as well).

Via those original live TV/Radio broadcasts, you're not going to hear a SINGLE report that resembles anything close to the Oliver Stone/Jim Garrison-endorsed nonsense of:

"Three gunmen fired six shots at President Kennedy's motorcade today here in Dallas!!"

What you will hear, instead, is live coverage, as it happened, of a ONE-GUNMAN assassination taking place from where the majority of witnesses said it took place (the Texas School Book Depository Building), with no more than three shots having been fired by the SINGLE SHOOTER, which is a shot count that over 91% of the witnesses concur with -- including the small percentage of witnesses who heard only one or two shots, who are witnesses that certainly don't do Mr. Stone's "6-shot ambush" theory any favors.

Upon evaluating virtually all of the TV networks' live assassination footage from November 22nd, 1963, there is no possible way that a reasonable person could arrive at a conclusion that JFK was shot by three assassins, firing from both front and rear. Let alone arriving at an even more-cockeyed "8-to-10-shot" shooting scenario, as purported by Mr. Groden and some other CTers, which is an outlandish conspiracy-flavored scenario that has John Kennedy and John Connally being shot by way more than just the two Warren Commission-backed Mannlicher-Carcano bullets from Lee Harvey Oswald's rifle.*

* = And Mr. Groden's theory (that sports from 8 to 10 gunshots) also features an additional hunk of lunacy, in that Groden thinks it's very likely that NONE of these eight to ten shots came from the "Oswald window" in the Book Depository! (I'm not making this crazy stuff up here. I promise. Anyone who owns a copy of Robert Groden's 1993 book "The Killing Of A President" can check out Groden's preposterous theory for themselves, on pages 20-40.)

The bottom line is -- Very nearly all of the information being reported on TV and radio that November day favored a "Lone Assassin" shooting scenario (including the info concerning the Tippit murder in Oak Cliff), with very little evidence and information being broadcast that would support any type of a "conspiracy" whatsoever; and certainly no "conspiratorial" evidence that has ever panned out and "proved" that a multi-gun plot ended JFK's life in Dallas.

This is quite a telling "One Killer" fact. Because, in my view, if a vast conspiracy and subsequent "cover-up" had been in place on November 22nd (given the immense amount of TV and radio coverage, with reporters scrutinizing everything coming across their desks and digging hard for any type of case-solving clues during those first hours and days after JFK and J.D. Tippit were killed), I think that at least SOME pieces of the conspiracy would have leaked through to the sweeping television and radio coverage surrounding the two Dallas murders.

And I'm guessing that every reporter and newsman in the country (including Messrs. Huffaker, Mercer, Phenix, and Wise) would have loved to dig up some "conspiracy"-proving angle during that weekend in November of '63. Being the person who uncovered such a huge story would certainly be a feather in that reporter's cap, to be sure. But, as it turned out, nothing of that nature occurred....and has yet to occur all these many years later.

To think (as many theorists do) that these conspirators were so smart and so quick to have had the capabilities to immediately eliminate virtually every last scrap of information leading to a conspiracy plot of some kind, making sure that none of the "multi-gunmen shooting event" details seeped through to the media (multiplied by TWO separate murders as well, counting Tippit's!), is to think that any such evil-doers had powers similar to "Superman".

For example -- Almost every one of the initial reports concerning the number of gunshots heard by witnesses stated "3 shots". And while it's true that the very first report of the shooting from UPI's Merriman Smith (which was broadcast over all the television networks) stated "Three shots were fired...", it's also worth noting that Smith's initial bulletin was not the ONLY "three shots" account that was reported during those early hours just after the shooting.

For instance, Jay Watson of ABC affiliate WFAA-TV in Dallas (who happened to be in Dealey Plaza during the shooting and nervously reported the first bulletins to the unaware Dallas TV audience) is heard multiple times on November 22nd saying he heard "3 shots" fired.

Plus, several other members of the media are also on record stating their own PERSONAL beliefs that exactly three shots were fired by the assassin, including Robert MacNeil, Jack Bell, Bob Clark, Jerry Haynes, and Pierce Allman, among still others.

Some of the other "Three Shot" witnesses who were riding right in the Presidential motorcade itself include -- Photographers Tom Dillard, Robert Jackson, Mal Couch, and James Underwood. Plus, both John and Nellie Connally, who were riding in the same car with President Kennedy.

In addition, Presidential aides Ken O'Donnell and David Powers, who were both riding in the Secret Service follow-up car directly behind JFK's limousine, can also be added to the lengthy list of witnesses who heard precisely three gunshots.

And then there's also amateur filmmaker Abraham Zapruder, who took the most famous 26-second home movie in history when he captured the entire assassination with his 8mm Bell & Howell movie camera -- Zapruder showed up on live TV about 90 minutes after the President's murder took place and gave a graphic account of the horrifying event that had taken place in front of his very eyes.

Mr. Zapruder told the WFAA-TV viewing audience that he had heard two or three shots (but definitely no more than three), and he also demonstrated on live television where on the President's head he had seen the effects of the fatal gunshot. Zapruder puts his hand over the right-frontal portion of his own head to demonstrate where he saw the blood coming from JFK's head.

That's pretty amazing "LIVE" stuff from Mr. Zapruder's own lips (within approx. an hour-and-a-half of the assassination). And it's especially incredible and amazing if there had actually been many more than just two or three shots fired at the President, and if the fatal shot had actually (as many CTers believe) caused a huge hole in the BACK of John Kennedy's head, instead of the location where Zapruder placed it on live television -- i.e., the RIGHT SIDE AND FRONT portion of the head.

How could the so-called "conspirators" have possibly gotten THAT lucky with respect to Abraham Zapruder's live "on-the-air" WFAA-TV statements and head-wound "demonstration"? How?

And -- Could these ultra-clever conspirators have somehow managed to "manipulate" several reporters who were relaying the news live to the world immediately after the event, and have them ALL report on hearing just "three shots" (or, in a few cases, hearing only TWO shots, which is a number that certainly does not favor a "Multi-Shooter Conspiracy Plot")?

Or did the plotters just happen to get really, really LUCKY (again) when virtually all of the news reports favored the "Three Shots Fired" conclusion? With this 3-shot scenario matching the precise number of bullet shells that were found on the 6th Floor of the Book Depository after the shooting; and also perfectly matching the exact number of shots heard by TSBD witness Harold Norman, and also perfectly matching the precise number of bullet shells (3) that Norman heard hitting the plywood floor directly above his 5th-Floor location within the Depository.

Which, per Oliver Stone's movie, would mean that a full 50% of the ACTUAL number of gunshots were somehow inaudible to the enormous majority (91%+) of the earwitnesses! And, remember, Oliver has NONE of the shots within his movie's six-shot assassination ambush being "synchronized" in order to merge together with the sound of some of the other shots.

And yet, per Mr. Stone, we're supposed to actually believe that approximately 9 out of every 10 witnesses somehow missed hearing HALF of the gunshots fired that day! A reasonable thing to believe....or not? I ask you.

Were these so-called conspiratorial shooters so good that they could make 4 to 10 shots sound like only three to the vast majority of witnesses scattered all throughout Dealey Plaza? Highly doubtful, to say the least.

Again -- I'd advise all conspiracy theorists to sit down and watch the live TV footage....or listen to some of the surviving 11/22/63 radio tapes....and then try to find a "Multi-Gunmen Conspiracy" lurking within ANY of those original broadcasts. If anybody finds proof of a conspiracy via those means, please let me know. And let the world know too.

David Von Pein
December 2006
January 2007

If you're trying to break into news on the AM/FM dial, this is a book that you must read and follow. It helps you format the way most of Radio Broadcasting does it today.

Ten years ago, I had the privilege of taking introductory radio writing from Mr. Block while earning my master's degree in journalism at Columbia University. If memory serves, Mr. Block also revisited my spring semester radio news course as a guest editor and instructor. He was a tough and fair instructor -- one of the many highlights of my year at 116th and Broadway.

Mr. Block's book has been indispensible to me ever since. Every so often, I reread a chapter to keep my writing fresh, and to jolt me out of the workaday rut so many reporters and anchors inhabit. Television news works on two levels, the words and the pictures, and it is a challenge and an art to make the two levels work together!

Whether you're a journalism 101 student or a seasoned professional, it never hurts to have this book on your desk (and occasionally at home!). Your viewers, producers, photographers, and managers will thank you!

This is the bible of broadcast news writing. Well organized. I'm a 25 year veteran of broadcast news and I still find information in this book that improves my writing and reporting.

This book should be required for every broadcast writing class. I have learned so much from just the first chapter alone, that it has even changed the way I write personal notes. Thanks Mr. Block for inspiring those of us who want to be great writers instead of celebrity newswriters.

To paraphrase Mr. Block, "if newswriting is easy, then you're doing something wrong." This book is for the lover of action verbs and simple words. You're taught to think and to see the beauty of simple writing. And if you want to be GOOD, you must learn to TELL a story. After you read this book, the news will likely not sound the same.

I recently saw some movies of Yul Brynner and was much impressed by his talents as an actor and his incredible screen presence. I read this book to find out more about the man behind the actor. I felt extremely sad after learning how he would put fame above family and friends. Myself an immigrant twice in two different countries, and having to learn French as a second language and then English a while later, just like Yul had to, I experienced the same exclusion and injustice as he did and I understand his anger against the Fox executives and those who profited from the actors. I wished he did get a chance to become a movie director...and succeed as such because his life probably would have been very different. It is ironic that he would hate his father so much to the point of wanting to kill him for not being there for him but that he, would too, abandon his wives and children. Despite being disappointed in his behavior, he remains the greatest actor to my eyes. Bless his heart and I wish that in his next life, he would be a more forgiving and compassionate person.

I recently stumbled on this biography. I meant to flip through it to look up some trivia and ended up reading it cover to cover. It's an eye-opening and quite moving account of the actor we've come to associate with The King & I. The book details much of the circumstances around Brynner's films which I found most interesting. It's sad that such a gifted actor with a talent for directing ended up making so many B-movies. I really enjoyed this book. His rocky relationship with his son (no pun intended), adds a new dimension to his personna. The only drawback for me is that some of the events are told out of synch. For a good companion piece, read Yul Brynner: The Inscrutable King by Jhans Robbins. The chronology of events are clearer there. Plus, it has a complete list of Brynner's works.

This book, written by his son Rock Brynner, is a poignant and revealing look into the life of his famous father, Yul Brynner. Rock unveils "The King," and shows that his father was a flawed, and sometimes wreckless man behind the "King's" facade. Rock uncovers how life was growing up with his famous father, and how he could never live up to the expectations of a King. Rock's literary style mix fact with his own feelings about - The Man Who Would Be King.

This excellent biography of Yul Brynner, written by his son Rock, is a must-read for all of the King's many fans. It clarifies the often-conflicting stories of Yul Brynner's birth, describes his childhood in Paris (where he spent his time entertaining in gypsy night clubs), and his memorable stint on Broadway in "The King and I" in the 1950s. His film successes, such as "The King and I" and The Ten Commandments, and his many screen flops are discussed, but it is Yul, the family man, who is at the center of the book.

When Rock was young, his father doted on him; even after his parents divorced and Yul moved on through three more marriages, the two were close. But when his son failed to achieved stability or success as a young adult, Yul summarily cut off all ties with him for a while. In the 1980s, out of money (as always), Yul began an eight-year tour of "The King and I" which was hugely successful, but he identified with the role so completely, he became an unreasonable tyrant, alienating himself from those closest to him. He kept doing eight shows a week even after he was diagnosed with cancer, dying just weeks after his 4,633rd performance as the King.

This is a riveting biography about a fascinating man.

Kona

I enjoyed the honesty of Son Yul Jr. He tried so hard to please his Dad and follow his footsteps Never could quite live up to SR. expectations.So sad that he dumped so many of wives and children the final blow DISOWNING his children in will.. Sad Sad yet I loved him as a talented actor. Where and how is YUL Jr. today I wish him well. He loved his Dad so much