Music Books

This is the most informative/coolest book, if your looking to get involved in the music business, the book is aweosme, but the guys are even cooler

This book is a great education in what a music supervisor does and needs to know. The spotlight interviews are informative and give the reader a practical application of the text. The technical aspects of the job were eye opening and extensive. A must read for anyone who thinks music supervision entails picking songs from an iPod and placing them to picture. I have a greater appreciation for good music supervisors after reading Music Supervision.

This book came to me out of nowhere and consequently turned into one of the most inspiring, captivating, and education texts that I have ever read. In this, the summer of 2006, I have currently been working as an intern for MTV On-Air Promos. There, I met David Hnatiuk and overlooked his profession as a music supervisor. Having interest and aspirations for his work (being a music industry and sound recording major), I decided to purchase "Music Supervision".
So, I got it- I read it- and loved it!

Reading "Music Supervision" flat out bridged the gap between everything I learned at the University of New Havem concerning the music industry and sound recording and everything that was coming as new to me from MTV about broadcast television and its promotion. The books facets including, but not limited to: Legal Issues, Sound Design, Licensing, DAW discussion, working with producers/directors, etc. are all topics that I learned and dealt with at school and at MTV.

This coincidence of reflection between these that I encovered was simply amazing and will prove to be beneficial to my success and education at MTV and as a music student.

Aside from teaching me about my loves and interests, the book also took my vision of my career and future life, twisted and distorted it, and showed me it as I have imagined before. Now, since the book educated me on the subject and how to succeed in it, being a music supervisor is now a career path that I am interested in pursuing. It entails the music industry. It entails sound recording. And hopefully, it'll someday entail me.

Congratulations to Ramsay Adams, David Hnatiuk, and David Weiss. They have succeeded in writing a book that is highly informative, useful, and very insightful. Whether you are interested in pursuing a career as a music supervisor, or would simply like to do research on the profession, this book will far exceed your expectations. It's an easy read that features random interviews from experienced music supervisors that candidly articulate what the primary considerations are in selecting music, and shines light on the process of "spotting" and "auditioning" songs for placement, in addition to offering helpful advice on how to deal with challenges that music supervisors face in their position such as difficulties in obtaining master, sync and mechanical licenses; working harmoniously with egotistical producers and directors; managing creative conflicts; preventing legal problems; dealing with financial constraints; and marketing their services. A great educational and reference resource.

I bought this book because I wanted to learn how I can get my songs into movies and tv. I heard that was the best way to make money and get exposure. This book gave me the answers and even the names of people who select music for films and tv. I already got one of my songs into a film that competed in Tribeca Film festival. Some of the writing is a little long handed but the information is really right on. If you are a songwriter who wants to get your tunes into the movies, this is the book for you.

(Note: Portions of this review have appeared in lesser detail elsewhere.) Simply stated, Richard Rodgers is America's finest composer. In our history, no other composer's music equals the consistent and prolonged quality, innovativeness, range, and sublime beauty of his compositions. Rodgers'exquisite, unforgettable melodies are crafted with such subtle ingenuity and sophistication that they never lose their freshness or their appeal.

Rodgers' musical genius was matched in two legendary partnerhips, the first with lyricist Lorenz Hart, and the second with librettist-lyricist Oscar Hammerstein II. Rodgers' collaboration with these two gifted men elevated and transformed musical theater into a true and distinctive American art form.

There is a knee-jerk tendency by a few so-called musical "experts" to site Gershwin as the greatest American composer. But discerning authorities and audiences know better. The ENTIRE BODY of Richard Rodgers' work stands the test of time better than Gershwin's, or for that matter, better than the music of Berlin, Kern, Porter, and Arlen, all gifted composers.

Rodgers' music is universally admired and respected generation after generation among all kinds of audiences. Few, if any of his compositions sound dated which cannot be said for a significant portion of Gershwin and other composers' music.

Rodgers' music is written so brilliantly that it seems organic, as if nature itself had perfectly strung together a series of notes which sound no less than heavenly, and which seem as if they could not have been structured in any other way. In some of Gershwin's music, particularly "An American in Paris" and "Porgy and Bess", the music seems stilted, grandiose, even pretentious.

You never get that feeling with a Rodgers' composition. His music always has a quality of lightness, fluidity and sponteneity something missing in portions of Gershwin's music. Some of Gershwin's music feels leaden and redundant unlike Rodgers' works.

The breadth of Rodgers' range as a composer was limitless. And no other composer was better than Rodgers in translating character and plot into music. Here is a man who wrote scores perfectly suited to shows as diverse as "Oklahoma", "Pal Joey", "Carousel", "Sound of Music", "Cinderella", "King and I", "No Strings", etc. The list is impressive.

"Musical Stages" offers a detailed account of Rodgers' life and his incomparable career. In it, you will meet Rodgers' two most famous collaborators the undisciplined, gifted, and lovable Lorenz Hart, and the idealistic, eloquent, and reliable Oscar Hammerstein II. Rodgers also reveals behind the scenes stories about Mary Martin, Yul Brynner, Gertrude Lawrence, Julie Andrews, and other luminaries of the musical theater.

This autobiography should be required reading for fans of musical theater and popular music.

I reviewed that book a few years ago,but i feel i could give a better review of it now.Let me be objective here by saying that RICHARD RODGERS was the best AMERICAN composer of the previous century.This book of memoirs gives you a real insight of the music business at the time of mister RODGERS.The anecdotes are very accurate;they show the good and the bad aspects of the music business.RICHARD RODGERS learned early in his career that you are always as good as your last success,and that producers are the kings of BROADWAY.The best example of this is that even with all the hits he had,RICHARD RODGERS never could give ALLEGRO a second chance on BROADWAY.A show that failed is almost never revived again.The man has a lot to say about creativity;the way one must always stand tall even in adversity.One of the most moving passage of the book is the retreat of LORENZ HART and his death at the age of 47.RODGERS certainly knew the value of a partnership.That he could work with both HART and HAMMERSTEIN demonstrates how good he was.Nobody in the history of AMERICAN music has done it better.Out of the 40 shows that he created,10 have become classics of the repertoire.That's quite a feat.If RODGERS was the best,it's simply because he was the most passionnate and the most talented;a perfect combinaison.In my book,there will never be enough revivals of his shows.Buy this,you'll become a fan too,this is guarantee for a lifetime of musical pleasures.

Please read my review preceding this one too. Today is November 4, 2001, and the Emmy Awards have just been telecast on CBS. To close the show, the magnificent Barbra Streisand sang a tribute to the unfailing courage and spirit of the American people whose lives have been inalterably changed by the terrorist attacks of September 11, 2001.

Of all the great American songs which could have been chosen to comfort and hearten the American people, the one Streisand sang was "You'll Never Walk Alone" composed by the incomparable Richard Rodgers from the Rodgers and Hammerstein musical, "Carousel". The poetic, inspirational lyrics by Oscar Hammerstein II are superbly matched by the sheer eloquence, beauty and emotional power of this soaring ballad. "You'll Never Walk Alone" is one of those songs that once heard, can never ever be forgotten.

Coincidentally, airing opposite the Emmy awards tonight was the PBS special "American Masters, Richard Rodgers: The Sweetest of Sounds" a documentary on the music and career of Richard Rodgers.

In a way, tonight's televised events were a double tribute to a man who was an American genius. He was in my opinion the greatest composer of popular music ever. I venture to say that his entire body of work stands the test of time better than the music of any other great American composer including Gershwin, Berlin, Porter, or Kern, etc.

I don't think that any of these other supremely gifted American composers could have demonstrated the prolonged and consistent brilliance and unbelievable range that Rodgers had. Here is a man who wrote songs as varied and memorable as "Manhattan", "If I Loved You", "Lady is a Tramp", "Edleweiss", "My Romance", "Mountain Greenary", "Mimi", "Hello Young Lovers", "Oklahoma" which incidentally is now the official anthem of the state of "Oklahoma", "My Funny Valentine", "Shall We Dance", "Bewitched", etc., etc.

It seems impossible that one man is reponsible for so many different styles and such a consistently high level of artistry and ingenuity over many decades. And yet Rodgers was.

Rodgers has touched and illuminated audiences generation after generation. He has given people music which is infinitely accessible, yet sublimely crafted. Simply stated, no other composer can equal Rodgers' accomplishments and the impact of his musical legacy.

Since RICHARD RODGERS is my favourite AMERICAN composer ,i could have killed to have that book, and i was not disapointed.One of those few autobiographies that are completely honest.You learn about his family upbringing, his complex relation with LARRY HART,the way he and OSCAR HAMMERSTEIN worked together ,and the way both were affected by the failure of ALLEGRO.You also discover that most movie producers didn't really care about music ,and that RICHARD was glad to go back to BROADWAYin 1935.It is also interesting to read the introduction of his daughter MARY, saying that she likes what other people likes about him:his music, but she also adds of course i loved him.RICHARD RODGERS was probably a very private person, who was in a way forced to live a public life because of his profession.

There are a handful of composers of American popular music whose body of work is revered generation after generation. Kern, Arlen, Gershwin, and Loewe come to mind. But at the top of the list is Richard Rodgers.

In my opinion, Rodgers is the greatest songwriter in the history of Broadway and popular music. His range was simply astonishing. He could write jubilant, folksy music as in "Oklahoma" or jazzy sophisticated tunes as found in "Pal Joey". He could create soaringly romantic melodies such as those in "The King and I" or inspirational and spiritual ballads as presented in "Carousel". Many of his songs have become popular standards as well.

Rodgers adapted brilliantly to a variety of subject matter. And the longevity of his illustrious career is enviable. "Musical Stages" not only chronicles Rodgers' life and work, but it is also an overview of the development and maturation of American musical theater to which Rodgers contributed mightily.

In this autobiography, you will get to know some of the true giants of American popular music in particular Rodgers' two lyricists: the impish, undisciplined, yet lovable genius Lorenz Hart and the wise and idealistic Oscar Hammerstein II. Both of these men wrote many of the best lyrics ever composed for Broadway or popular music.

You'll also meet acting luminaries such as Yul Brynner, Gertrude Lawrence, and Mary Martin among others. "Musical Stages" is a rich addition to any theater and popular music buff's library. Read it with delight!

My 3-year old loves this book! After reading it every night for a month or so, he began to recite the entire book to me from memory. I can't even remember it, and I'm the one reading it! It is a lovely story about giving and helping and kindness. Sweet and thoughtful and well-written. A keeper for years to come!

What a sweet book, especially for children who love trains. It is very soothing as I am lulled when my husband reads it to my son!!

We bought this for our 2year old son for Christmas that is becoming really fascinated with trains. It is a wonderful story and isn't just enjoyable for him, but me as well. It is a book that is captivating for all ages and highly recommend.

My five-year-old has been a Thomas the Tank Engine fanatic since he received his first video on his first birthday. I stumbled across this book in an outlet mall and was captivated by the illustrations. The story is simple and sweet and we read it every night at bedtime. I've bought copies for our friends with little ones with similar interests. This book is well worth the purchase price!

I bought Niccolini's Song for my 4 year old son, because he is in love with trains and hates going to sleep. The endearing story and the lovely illustrations capture a child's imagination and it is a pleasure to read just before going to sleep. He loves it and it is one of his favorite bedtime stories. At least it makes him get IN the bed and stay there.

A great book about the genesis and history of what I believe is the funniest sitcom ever. When you love something as much as I do like the Dick Van Dyke Show, the little nuances and details are fascinating! Vince Waldron goes into great detail without boring the reader in the meantime. It is too bad that this early sitcom has not gotten it's due as a groundbreaking show-- showing where the male lead works and his co-wokers, the reality of married life, a married couple in bed (albeit twin beds) and, of course, Mary Tyler Moore in Capri pants (scandalous)! All kidding aside, if you are a fan of the background scenes of TV or movies, this book is fun to read and reveals how the cast came together, the family atmosphere that resulted, the awards won, the demise of the series and the eventual post-series cast successes. You will find this book refreshing and hard to put down and won't be disappointed in purchasing it. The only thing I was disappointed in was that some of the episode descriptions were sparse. Buy the book, read it, enjoy....then, go buy the DVD series sets or set of all five seasons!

The other reviewers have pretty well covered it. This show was as good as it gets, and it never seems to date with time.

This book is an invaluable guide to the greatest show/series of all time, and represents oustanding value. The pairing of Dick and Mary was a stroke of genius, and the chemistry between them lifted this brilliantly conceived and well-written series onto another level. Remember the 'Nuts' episode?

Even the cutesy touches, such as the way Dick randomly tripped over or side-stepped the ottoman just added to the seemingly endless magic that was the Dick Van Dyke Show.

I had been itching to get my paws on this guide ever since I read Mary's autobiography After All, in which she rightly sings the show's praises - they both won Emmys of course - and this Definitive History illustrates just why it was out there on its own.

A wonderful book, and absolutely essential for the serious fan of this unique and unforgettable series.

This book is super awesome, it's just the best episode guide book ever written and I'm kind of partial since The Dick Van Dyke Show is my favorite classic TV show, I especially like the episode guide part which explained in a wonderful well written detail about each different episode, when they were made when they were originally shown on TV what they were about, who the guest actors were etc. I very strongly recommend this amazing book to any major Dick Van Dyke Show fan!

I really enjoyed this book, and would highly recommend it to any fan of "The Dick Van Dyke Show." It was very entertaining to read and informative as well. It was also very well written. I would give it more stars if I could.

This book features an amazing amount of insight into one of the very best television programs to ever grace the airwaves, "The Dick Van Dyke Show".

If you're an avid fan of this 1961-1966 CBS-TV program, trust me, you will NOT be able to stop turning pages until you've read the whole thing!

In each chapter, we learn new tidbits of behind-the-scenes information. There's info (including some brief biographical data) about every single member of the show's stellar cast.

For example: Did You Know .... that the audience laughter went on so long when Greg Morris & his on-screen spouse entered the Petrie home at the end of the episode "That's My Boy??" that the editor actually had to cut out some of the audience hysterics in order to fit the episode into the allowable timeframe? (Too bad, too. I'd love to have heard the WHOLE thing. A great episode indeed.)

The book also reveals the fact that Mary Tyler Moore stormed off the set in a huff one time, while doing the ultimately-classic episode, "Never Bathe On Saturday". She was upset because she was off-camera and talking through a door for most of the show. But, after seeing how funny the show worked as written, MTM felt bad about her tirade.

"Never Bathe On Saturday" features Dick's great line, after finding that the hotel bathroom door is locked: "Don't toy with me, you saucy wench." :) LOL!!!!

Plus there's a complete episode guide, with still more tidbits written within most of the episode descriptions.

I cannot imagine a more thorough and detailed Dick Van Dyke Show volume than this one. This book is a MUST for any fan of this highly-intelligent and magnificently-written TV program.

When I picked this book up from the library I was not sure it would be one that I would enjoy,but I was surprised how into the story I got and could not put it down! I am not going to tell all the details of the book but I will just say that if you want a book that will not only capture you mind but your heart as well than you will enjoy this book and even be sad when it ends cause you just want to keep reading!

Maurine F. Dahlberg.... wow can you ever write. This is one of my very favorite books of all time and I swear that I have read WAY to many books. Right now I am doing an Independant Novel studu on it and have to do a bibliography on you. I can't seem to find information but kids and/or Adults if you ever need a good book to read, I suggest you pick up a Play to the Angel and dig in!

" Austria 1938. War is coming. But Greta only cares about her music." What if suddenly you were practicing in your piano professor's apartment. When a loud banging comes from the door. You open it to see starched uniforms, shiny boots, pistols, swastikas, and lightning bolts. The Nazis are at the door.
This was just one of the many scenes from Pay to the Angel. Where words of cheerfulness and depression burn a seeping image in your mind. This author really sets the scene. Maurine Dahlberg wrote the magnificent and extraordinary novel.
Greta Radky loves to play the piano. But her mother does not want her to play. She threatens to sell the piano. But luckily, a piano teacher moved into the apartment not far away. Se learns how to play the piano from a Herr Hummel. But while at a party with her friends Mutti (the mother) finds out! But in a last desperate attempt by Herr Hummel and Greta, she decides... to keep the piano. So Greta plays better and better and eventually she is invited, by Herr Hummel, to a Recital at a huge musical academy, in front of a large audience! She had never done this before. And more than anything she wants Mutti to come. But at the end of the recital she is not there. When she leaves the academy, she why Mutti had not come. The Nazis had taken over Austria! But that's all I'm going to tell (I hate Spoilers).
One day, Greta was practicing on Herr Hummel's piano Sunday morning. Herr Hummel was never at his apartment room come Sunday morning. So he had given Greta a spare key to the room. Then a knocking came from the door. Too loud to be Mutti, Herr Hummel, or any of the neighbors. She opened the door, and the hall was filled with Nazis. Then they swarmed the room, tearing it apart, looking for signs of the unidentified Herr Hummel.
The theme to the book is that things aren't what they seem. Like cold- hearted Mutti, turns out to be, happy, loving, caring Mutti. And like Herr Hummel's identity. And how no one seemed to think that the Nazis would invade Austria.
I would recommend this book to anyone who likes books with mystifying people. And anyone who loves to read about history. This is a very creative story. If you wish to find out about Herr Hummel's secret past, Mutti's true feelings, and the story of Greta Radky, you will have to read Play to the Angel.

When I started to read this book, I was captivated. It is interesting and provides a good insight to musical life to someone who is musically challenged. I thought Herr Hummel, or Karl Von Engelhart, was very well-done and interesting. When I finished this book I suddenly wanted to go to Austria and see what it was like. The only thing I didn't like was it ended on a cliff-hanger, and I really tortured myself thinking about if Greta ever saw Lore or Erika or Karl von Engelhart (Herr Hummel) again.

One thing I disagree with in the review above: they say that Doris Ogel's The Devil in Vienna is better than Play to the Angel. It is not! I read about half of TDIV and I was totally bored and disinterested, although I finished it. It was shallow and the emotions of Inge were very undeveloped. Though I'm getting off the subject. Read Play to the Angel and you won't be disappointed!

Greta was a piano player in Vienna, Austria in 1938. Her brother Kurt died about a year before and her mother is starting to get insane migraines. But those wont stop Greta from dreaming of becoming a famous pianist. She is different from all the girls in school. And now that her best friend Erica has moved to America, she truly feels alone sometimes. Even her neighbor Frau Vogel can't help her that is until she tells Greta about a piano teacher that lives in the apartment next door. She goes to the apartment one day but no one is there. She walks in to find a beautiful grand piano. She takes out some music and begins to play when Herr Hummel startles her. They eat and start to talk. By the time Greta leaves she has agreed to take piano lessons from him for free. She keeps this a secret from her mother for a while but when Herr Hummel brings up that he wants Greta to play at the Academy of Music and Performing Arts. Greta begins to practice music from Scarlatti and Mendelssohn for her recital. Finally the day of her performance comes. Her and her mother had gotten in a fight earlier that day but Greta had hoped that she could still make it. To her surprise her mother didn't arrive. When the recital was over Greta and Herr Hummel were rushed back to Herr Hummel's apartment where they found Frau Vogel and Greta's mother with an injured ankle. Apparently the Nazi's had invaded Austria and while Greta's mother was running out of the shop where she works she sprained her ankle. Soon one of Herr Hummel's old students Rudolf Beck, who Greta and Herr Hummel had seen while they were in the city, has sent the SS for Herr Hummel. Greta is in Herr Hummel's apartment when the SS came in tearing the place up looking for things. That is when she finds out that Herr Hummel is actually famous pianist Karl von Englehart, and that he is wanted for helping Jews escape the Nazi's. When the SS men leave Greta remembers the money and passports in Herr Hummel's desk and takes them across town to the Academy where he is with one of the directors. He tells Greta that he is going to Prague and that he will contact her when he is safe. Later Greta receives a letter from him saying that he is on his way to America. Greta and her mother escape the Nazi's by going to live with family in Switzerland. This book is good for students who like to learn about the affects of WW2 and who study music. This book shows students that no matter what they can always make their dreams come true.

In the beginning of the book Greta has suffered a great lose in her life, her brother Kurt, who also played piano, died and her mother is becoming very irritable. Her mother used to always have fun with them and enjoy listening to Kurt play the piano but now every time Greta touches it she says she has a headache and wants to rest. Also her mother almost sold the piano and Greta began to greatly doubt she could ever become a concert pianist.

Greta also doesn't fit in with many girls in her school. For one of her papers she has to write about the best day of her life and she writes about one where she spends it alone playing the piano but her fear of being made fun of lowers her self esteem and makes her nervous about her upcoming recital.

After her recital Greta realizes that many people believe in her and that she can accomplish anything she wants to. Her mother risked dying to see her play at the Academy and Herr Hummel risked being captured by the Nazi's to help her succeed with her playing. And she even makes a new friend, Lore, who likes her for who she is and what she does. Greta realizes she has nothing to be shy about and that her brother would be proud that she is accomplishing what he couldn't.

This book can truly teach students many things about the world around them and themselves. I recommend this book to students of all ages that would like to learn more about the piano or more about the affects of war on people.


T.Shene

As previously said, this is a very well and beautifully writen errr... memoir. The cover tells you the whole story of what to expect inside. At first glance Alec dancing appears as a comical figure almost, but as you look closer you can see he is in some sort of agony. And as the book moves on, it is hard for him to not show his melancholy.
Despite being a bit of a emotional downer, this is still a very worthwhile read for any of his fans.

The journal of an extraordinary gentleman, one of the greatest actors ever to grace stage or screen. His reflections on his career are moving and perceptive, totally lacking in self-aggrandisement. His thoughts on the whole "Star Wars" phenomenon are particularly witty but smack of the desperation of being hounded by that film's fans. It's tragic that this great man may only be remembered by modern generations for his appearance in that opus instead of for his work in the Ealing comedies, "The Bridge on the River Kwai", his lengthy stage career and his magnificent turn on TV as George Smiley.

Alec Guinness is undeniably one of the most gifted actors of our times, and now, with his offering of "A Positively Final Appearance," we get to know something of the man behind the mask. This journal, kept between the summer of `96, and 1998, is chock full of insightful musings, reminiscences and anecdotes that are a delight. He shares his love of the theater, discussing many of the plays he attended during this period, and gives comments on recent movies, as well. An avid reader, he talks enthusiastically of favorite authors and books; his love of literature is unmistakable. The stage is his first love, however, and he speaks fondly, and frankly, of many of the plays he's done, and of his experiences with many of the actors and directors with whom he has had the privilege of working. He invites you into his private life, discussing the love of his life, Merula, and discoursing on their life at home, as well as their many travels. You learn what the greatest regret of his life is, who some of the people are he admires most, and a few of whom he could do without. He explains his negative attitude toward the "Star Wars" phenomenon, and addresses many of the events, large and small, that have in some way affected his life, and helped mold his perspectives. His concern over world events and the human condition is poignantly evident. Guinness writes so fluently, you can almost hear that distinct, familiar voice; you seem to be listening, rather than reading. There is a dignity and charm to his words that reveal, to some degree, the man behind them. That he values his privacy is apparent, and it becomes very clear that he is not the most accessible person, yet without any rancor; he holds his fans in high esteem, but there is a sincere humility to the man, who simply doesn't feel worthy of all the fuss. In a world seemingly rife with crass sensationalism and indifference, "A Positively Final Appearance" is like a tonic to the soul; it is so refreshing to discover that somewhere elegance and refinement still exist. My positively, final word on this book is that it is a joy, and should not be missed.

I picked up this book because I like Alec Guinness' work in "Lawrence of Arabia" and his other David Lean films (not because of "Star Wars" which I can take or leave). To be honest, I was worried it might be kind of boring.

Well, it was not boring -- it was delightful. The man was full of many profound observations about life that he communicated by writing about everyday things such as the birds in his yard or the weather. His vivid memories of his stage career and the people he knew were vastly entertaining. I was surprised to find him to be a humble, not-too-well-off everyday kind of man, not some fabulously rich egomaniac as I had supposed him to be.

Even though I could not be more different from him politically, I still enjoyed reading his views on politics. It was like talking to a dapper, well-bred older gentleman you bumped into on the street. His writing was assertive, yet polite and genteel.

If you miss reading this book, you've missed a simple pleasure that will make you smile. It's worth buying!

The late Sir Alec Guinness was a lovely writer, and with this, his final memoir, he improved vastly over his previous gift to us, MY NAME ESCAPES ME. Whereas the latter was strictly a selection from his diary, with this Guinness moves beautifully from journalistic descriptions of day-to-day events (from eye surgery to walks with his wife, Merula, to the indignities of moving slowly in an ever fast-paced and impolite world) and wry reflections on current events to anecdotes spanning his entire career in theatre and film. Each chapter is arranged by a theme, mostly seasonal, but they meander charmingly.

Those interested in his encounter with the church and his beginnings as an artist should find his autobiography, BLESSINGS IN DISGUISE. Those who might want reflections on STAR WARS will be disappointed. When one gentleman asked Guinness for an autograph from Ben Kenobi immediately after mass, Guinness admonished him, "Not in front of the parishioners!" and disappeared as nimbly as a young Jedi.

10 stars! I agree with all of the previous reviews here, please read them all! I just want to add that it is a very unique book, heavily endorsed by the likes of Tom Waits, Allen Ginsberg, and others (on the most recent editions' liner notes). I have been a career pro musician for over 30 years and this is one of Thee Best true stories about the origins of Jazz music, America's greatest original art form, and about All music for that matter, that I've ever read. We Love you, Mezz! Also want to point out that Mezz was a sideman musician on many of Fats Waller's great recordings, that's how I first came to know of him. He played inventively with humor and with tons of feeling on all of the Fats' stuff.......check it out!

This is quite a yarn. I leave it to others to debate Mezzrow's place in jazz history. I found it interesting as a social study. Tales of 1920s gangsters and prohibition, the Chicago and Harlem music scene, and race relations. Of course, it's not always clear how much of this is true and how much may be a product of Mezzrow's (or Wolfe's) desire to make the story better.

For me, Mezzrow came across as the ultimate wannabe. He wanted to be a black jazz musician from New Orleans. He was a Russian Jew, born in Chicago. He lived the life, the music *was* his life (except when opium was his life), but he could never fully be what he wasn't.

Compare, for example, Louis Armstrong's autobiography "Satchmo." Armstrong matter-of-factly tells about his life, not wanting it to be anything else. Mezzrow is always trying to be something he isn't and never can be. He was an interesting character.

It's a good read.

Milton "Mezz" Mezzrow was a white jewish kid who was born in Chicago in 1899. In his late teens he discovered the jazz music that was being played around the south side of Chicago in those days. "Mezz" fell in love with the sound of early jazz and with the excitement of the music scene. Chicago was a jazz center then, and Mezzrow heard many of the great pioneers of the music including Freddie Keppard, Joe Oliver, Louis Armstrong and many others. Soon he bought a clarinet and began trying to play like his heroes.

The club owners who employed Mezzrow were prohibition era gangsters including Al Capone. The gangsters were interesting louts. Capone once wanted Mezzrow to fire a girl singer who was developing a romantic relationship with Capone's younger brother. Capone said, "she can't sing anyway." Mezzrow was so upset that he told Capone, "why, you couldn't even tell good whisky if you smelled it and that's your racket, so how do you figure to tell me about music." (sic) Feisty!

Mezzrow wrote this book in 1946, and he uses 20's era slang to tell his story. This is as groovie as a 10 cent movie, jack. It's also fun.

Mezzrow's maniacal enthusiasm for early jazz is endearing. Not many people who were actually present at the time considered jazz music to be important enough to write books about. Part of Mezzrow's purpose is to convince the reader that jazz music is important. One of the earlier reviewers compares Mezzrow's book unfavorably to Louis Armstrong's autobiography, Satchmo. Armstong's book is good, but Mezzrow's book is more honest than Armstrong's. Armstrong was born into dire poverty. His mother may have been a prostitute, and he was placed in an orphanage at an early age. His book cleans up the criminals and murders in his story so that they are merely "colorful characters", and he leaves out as much unpleasantness as possible. Mezzrow tells more of the whole story. He candidly discusses his drug experiences, and his jail sentences as well as his happier times.

An added bonus to this book is that Mezzrow leaves out all that boring background information that plauges other books, like who his grand parents were and what his childhood was like. Mezzrow's book starts right off with his discovery of music in Pontiac reform school.

If you like this book, or Louis Armstong's book, another good book by an early jazz musician is Jelly Roll Morton's book, Mr. Jelly Roll.

the hippest trip around...this book will grab you by the soul and spin you around. reading it changed my life.

Often considered a highly unreliable autobiography, 'Really the Blues' is really an insight into the personality of Mezz Mezzrow rather than a factual retelling of his life events. Milton 'Mezz' Mesirow was a Jewish-American jazz clarinetist born in 1899 in Chicago. Mezz quickly showed a penchant smoking marijuana early in his life. But he also showed a penchant for jazz music, like his mentor Louis Armstrong, for whom he briefly may have served as manager.

Although Milton "Mezz" Mesirow is generally remembered as not being a very technically skilled clarinetist, Mesirow in-fact was very knowledgable about his instrument and about the workings of the jazz music industry. Milton's life was often a reflection of the demands of the music industry. His personality could best be viewed as a product (or reaction) of the rough-and-tumble environment of mob-controlled, Prohibition-era Chicago. Due to the uncertainty of the circumstances abound, Mezz was a fearless rebel rouser. He took risks, such as smuggling some twenty joints into a New York night club. He was stopped and caught by the police, a violation for which he was arrested and taken to prison. When he arrived, Mezzrow successfully persuaded the prison guards to let him stay in a black section of the prison by convincing them that he was African American.

In addition to music, race relations emerges as a major theme in the autobiography. Mezz married a black woman, played music like a black person, and was more interested in black culture than white culture. Mezz also dealt marijuana in spades. His marijuana dealing perhaps earned him higher distinction than his jazz playing. In the lingo of the time, "Mezz" became slang for marijuana. Milton also gained the nickname "Muggles King," at the time "muggles" being another slang word for marijuana.

The fast writing style featured by Mezz and Bernard Wolfe makes 'Really the Blues' a fast-paced, entertaining, and image-packed read. Mezz's narrative style is a self-assuring one, making 'Really the Blues' read as if Mezz were present in the room and actively trying to engage the reader. Consequently, the insight that the reader gets into Mesirow derives not just from the stories, but in large part from the narrative style itself. Mesirow's psychology is revealed to the reader through his nonchalant word choice, liberal syntax, and the larger philosophical method by which he organizes his book.

Reading 'Really the Blues' is an experience. Mezz takes the reader on a ride through another time, an era defined largely by the times. The reader is also given an entertaining educational look at the life of an important, if somewhat marginalized early jazz musician, Milton "Mezz" Mesirow.

* You may have noticed that my last name, Mesirow, is the same as that of Milton Mesirow. There actually is a familial relation. My grandfather was a first cousin of Mezz (although Mezz was a good deal older). My grandfather kept up on what Mezz was doing and introduced me and my brothers to the legacy of Mezz Mezzrow.

THIS BOOK IS ABOUT LEGENDARY FILM MAKER ROGER CORMAN. HE IS KNOWN FOR MAKING FILMS AS QUICK AND CHEAP AS HE COULD. MANY OF THESE ARE CULT FAVORITES SUCH AS LITTLE SHOP, GIANT LEECHES AND MANY MORE. I HAVE SPENT MANY A FRIDAY NIGHT AND SATURDAY AFTERNOON WATCHING THESE "CLASSICS". ROGER CORMAN IS KNOWN FOR MAKING CHEAP BUT INTERESTING AND SOMETIMES HILARIOUS B MOVIES. THE BOOK GOES BEHIND THE SCENES AS THE AUTHOR INTERVIEWS MANY FORMER EMPLOYEES WHO HAVE WORKED FOR CORMAN AND HAVE INTERJECTED THEIR VIEWS AND OPINIONS ON CORMAN. ROGER IS ALSO KNOWN FOR GIVING MANY STARS THEIR START. CORMAN IS ALSO A COMPLEX GUY WHO CAN BE VERY GENEROUS AND CAN ALSO BE AS CHEAP AS THEY COME. SOMETIMES MOOD BUT ALWAYS LOOKING TO MAKE ANOTHER MOVIE. I REALLY ENJOYED THIS BOOK AND I RECOMMEND IT FOR ALL FANS OF KING OF THE B'S AND WHO APPRECIATE BRILLIANCE ON A BUDGET.

Wow! Talk about switching personalities! This amazing biographer can emit the style of the person she is writing about to really give you a flavor of the personality. And of course, she spent time working for him, so you are privy to more of a view. Written somewhat bruskly like Roger's personality, you really gain insight into his life and what made him the person he is. Contrast this book with Beverly's biography of Ron Howard and you see some of the exceptional talent of this lady. A great read!

(...)

Gray's biography--fun as it is-- is more than a story about a man who is arguably one of Hollywood's most idiosyncratic moguls. It is a chronicle that parallels that of The Great Depression, World War II, the growth of the film industry and Los Angeles itself. We meet again celebrities we haven't thought about in years like the adorable dimpled Jon Davison, the memorable Vincent Price and even run across pop culture icons like Frank Gorshin.

Occasionally this book is burdened with glitz-town detail that only a dedicated film buff might adore but these moments are rare. Like a super hero, Corman--now 75 and still going--is resilient because he is multi-faceted. The same can be said for screenwriter cum UCLA instructor and journalist Beverly Gray. The two seem admirably paired in that way. Gray uses her many experiences and talents to tell the story of a man of many parts.
(...)

This fascinating "biography" is really a savvy "how to" book that belongs on the shelf of every screenwriter, aspiring producer, director, and development executive -- and everyone else who loves films and craves to know the secrets of Hollywood's most colorful mogul.

I found it fun to read as a realistic "behind the scenes" glimpse of what it takes to be a profitable mogul, such as the way Corman hired young cheap "promising" talent instead of going for experience. Directors fresh out of film school reading this book, for example, can get a good feel for the mindset and financial situation of producers they interview with. Screenwriters will learn how Corman and team (Gray had been his development executive) managed to write and produce so many successful films quickly.

Few books reveal the inner machinations of a successful producer so intimately. Gray, a screenwriting teacher at UCLA, has done a spectacular job of showcasing the life story of an intruiging man through more than eighty interviews and via her own experience.

I have to agree with the other five-star reviews. "Roger Corman: Blood-Sucking Vampires, Flesh-Eating Cockroaches, and Driller Killers" is the best book on the subject, the subject being the most unique American studio head in film history.

Beverly Gray really paints a nuanced picture of Corman and never panders to the fans, the haters, or her old boss Corman himself. Though it's impossible to pull back the curtains entirely and see into a man's soul, Gray seems to have at least pulled back one side, giving us as much a glimpse as is possible without telepathy.

Storywise, Corman is, as always, fascinating, and Gray's perfectly detailed retelling of his story is the best yet written.

I read this book first in the 1980s, while I was actually working in the theater (and I had met a few of the people talked about in the book). What I like about it so much is that Goldman expresses his opinions, especially about the fare on Broadway at the time (not so good), the deficiencies of some of the actors and actresses and his sweeping view of the whole milieu. I don't always agree with him, but he's so incisive that you gain enormous respect for him, particularly when he's writing about Judy Garland, Sandy Dennis and Tom Stoppard. Students of theater history should turn to this book to find out what a bygone era (before huge corporations and nonprofits took over Broadway) was all about.

This book is it. It's just it. If you have any inclination at all to work in the theatre in any capacity, this book is required reading. Do not move to New York without it. I did, and I barely barely survived the few days it took me to find a copy. Order it now while you still have time! I'm serious!

William Goldman is not only a great screenwriter, but a wonderful writer of prose/criticism, as evidenced by "The Season," probaby the smartest, if not funniest, book ever written about the (sorry) state of Broadway. Here he tells you all you would want to know about the making of a Broadway show--all the compromises, betrayals, fits of ego, and under-the-table deals that keep the "fabulous invalid" (a phrase, by the way, that makes Mr. Goldman want to vomit) alive for another season. As a lover of theater, you may become depressed at the cynical machinations that go on to get what is, after all, usually pretty mediocre material to the stage; however, Mr. Goldman's prose is so crisp and entertaining that your spirit is ultimately lifted by his keen analysis. Although the patient is very sick, here's a doctor who has a prescription to offer. And all through the book, he does offer suggestions on how Broadway can better serves us, the theatergoers. Alas, the advice wasn't followed then (the late 60s), and it's not being followed today.

This is an extraordinary book. It is written by an author with a first class mind and genuine curiosity about his subject. Whilst one may not agree with all of it, the writing is a delight and he does not shirk dealing with controversial issues such as the influence of homosexuality on the stage and the corrupt financial practices in relation to theatre tickets, etc. Even though it was written for the 1967-1968 season, it still resonates and viewed in retrospect, it provides crucial evidence relative to the aetiology of the culture wars.

William Goldman's groundbreaking book The Season is all it's cracked up to be and more. Though a number of the people he deals with are no longer with us, many of the shows have been forgotten, and the ticket prices are quite a bit higher, it's astonishing how much the Broadway of the late 1960s resembles the Broadway of today. The same problems, the same headaches, the same disappointments, and the same triumphs are all still a part of the Great White Way. No Broadway enthusiast should be without this book; The Season is a stunning history--and current events--lesson on Broadway theatre.

My two little girls absolutely love these songs and are always asking me to play them. Mom loves the introduction to each song and the words that accompany the tapes. Truly a great way for teaching our children God's words and His stories. Now if they would only come out with these on CD!!!

This is one of the most entertaining kid's Bible songs. It is different than the overdone praise songs, and my church kids love it! we did a play using the songs a few years ago, it was amazing! I would love to do it again, but I need it on CD and in split track or instrumental (even better) pleaaaaaaaase :-)

Patricia

This set is really fun but the quality is not so good because it's on cassette.

I am amazed at this series. My 4 year-old daughter has listened to it since she was born and she continues to ask for it 95% of the time we are driving in the car. It never gets old because all of the stories are true and accurately presented. Not only is the presentation fun and entertaining but it is amazingly accurate to the Bible in a concise way that children can grasp. It gives the listener a fabulous knowledge of the chronological events in the Bible since it follows the books of the Bible in order.

This series uses a variety of music types and the adults and children singing have close to perfect pitch and excellent vocal ability, which is a plus when training a young ear. This is the absolute best Bible music I have heard for young ones and I've purchased many that are on the market.

I am also very much interested in seeing this on CD or MP3.

I bought this for my toddler, so he could listen to it while we ride to and from 'school'. It's very up-beat, informative and fun! The songs are catchy & I find myself singing along! =O) I just hope they come out with it on CD, due to us buying a new vehicle w/out a cassette player! =O( I highly recommend purchasing it!