Bernstein Books

Unbelievable. That is, in a word, perhaps the most appropriate word to best describe life story of professional wrestler Adnan Alkaissy. Alkaissy's incredible journey begins in Iraq, where as a young boy he grew up the son of a prominent religions seik in the 1940s and `50s. A childhood friend of future dictator Saddam Hussein, Alkaissy went on to become a very successful prep wrestler and soccer player in Baghdad.
As a top-flight athlete, Alkaissy was recruited by a secret U.S. agency operating in the Middle East and given a scholarship to play football at the University of Houston. Despite the fact that he had never played American football before, Alkaissy came to America to make the most of his unprecedented opportunity. He eventually transferred to Oklahoma State University, however, where he emerged as an All-American wrestler. From there, Alkaissy got into professional wrestling as an Indian character named "Chief Billy White Wolf."
After traveling the world as a pro grappler for several years, Alkaissy returned home to Iraq as a modern day hero of sorts. Meanwhile, Saddam was rising to power in the ruling Baath Party at the time and had big plans for his old friend. With that, Saddam summoned Adnan to his palace and told him that he wanted him to wrestle for Iraq and make him proud. Adnan, who was only home for a visit to see his family, respectfully declined the generous offer. But when Saddam told him it was not an offer, but an order, he realized that his life would never be the same.
So, under Saddam's watchful eye, Alkaissy began promoting his own wrestling matches in Iraq - importing professional grapplers from around the world to compete against him. Literally hundreds of thousands of crazed fans poured into local soccer stadiums to see Adnan emerge as the Middle East Heavyweight Champion of the World, and before long a superstar was born. Adnan was rewarded with his own palace, a fleet of Mercedes complete with chauffeurs, and money beyond his wildest dreams. He was even named as the Director of Youth at the Ministry of Youth, a very coveted and prominent government position.
Soon, there were thousands of adoring fans sleeping outside his home at night just hoping to catch a glimpse of their new hero. It was utter insanity. What Adnan didn't realize, however, was that Saddam was using his old friend as a clever ruse to entertain and occupy the masses while he began his own murderous regime of torture and terror throughout the Middle East. Eight long years later, Alkaissy was fearful of being killed. So, he left everything behind and escaped in the dark of night, leaving his friends and family behind forever.
With nowhere to turn to, he came back to America, where he would start over as a professional wrestler - only this time, instead of being an adored national hero, he would be transformed into a villainous Arabian madman named "The Sheikh." Alkaissy would spend the next several decades making a new life for himself working in the American Wrestling Association. Then, in 1990, a career ending knee injury forced him to retire and become a ringside "manager" instead of a headlining villain. That same year, when Iraq invaded Kuwait and the Gulf War began, he was lured back into the limelight as a new character called "General Adnan," which was created by the head of the vaunted World Wrestling Federation, Vince McMahon. McMahon saw dollar signs with Adnan, who would now dress up like Saddam and enter sold-out arenas across the country as a real-life enemy of the state. With a wife and kids and a home in Minnesota, Alkaissy was torn between cashing in and doing the right thing amidst the backdrop of his two homelands going to war. The events that ensued were simply incredible.
This is a true story about a man's journey across two continents which has finally come full-circle. In many ways it is an unbelievable rags-to-riches-to-rags story about wrestling as a metaphor for life. It is also a story that can now finally be told only because Saddam Hussein is at long last in U.S. custody awaiting trial, and poses no threat to Alkaissy's family which still resides in Iraq. This is also a story about an Iraqi-American wanting to make a difference in this post 9-11 world and hopefully provide a small ray of hope in the quest for peace in the tumultuous Middle East.
While the book is a very odd juxtaposition of two very different worlds, albeit so is Adnan's life story. On one hand there are hilarious tales of what life was like both in and out of the squared circle of professional wrestling. On the other are stories of heart ache and despair about a man whose country is once again trying to find itself. Mixed in are truly amazing stories which will make you laugh and make you cry. It is also about a man's desire to obtain a sense of closure while telling his personal accounts about a separate life lived many years ago. Finally, it is a story about a man, now in his mid-60s, who wants nothing more than to go home to a free and democratic Iraq, where he can finally introduce his new family to his old one.

Adnan Bin Abdulareem Ahmed Alkaissey El Farthie, who is known in professional wrestling circles as Sheikh Adnan Alkaissy, recalls in his book, The Sheikh of Baghdad, that when he and Saddam Hussein were teenagers hanging out in Baghdad coffee shops, the tall, lanky, well-dressed and polite young man always had a book or newspaper with him, anxious to talk about Middle Eastern politics. Saddam was fascinated by the Baath Party that was gaining influence in Iraq at the time, and young Adnan could see that his friend would, one day, become one of their recruits.
Meanwhile, Adnan Alkaissey, who is allowed to use the title "Sheikh" because his father was the imam, or, spiritual leader of the Almahdia Mosque in Baghdad, was anxious to travel and see the world. Since he excelled in sports, particularly amateur wrestling, he decided to come to the United States via the American Friends of the Middle East on a football scholarship.
Adnan earned a masters degree in education from the University of Portland. Using his immense amateur skills, he financed his education as a professional wrestler. In a showbiz world where Canadians made the best Russian villains (Ivan Koloff); native Nebraskans the most believable Germans (Jim, "Baron"von Raschke), Adnan followed the example of Italian Joe Scarpa (Chief Jay Strongbow), and became Chief Billy White Wolfe. Adnan became a huge wrestling success.
In 1969, on one of several trips back home to Iraq to visit family, Adnan was "asked" by Saddam, now the Chairman of the powerful Revolutionary Command Council, to replicate his work at home. He had made a big name for himself in America, so, Saddam reasoned, Adnan owed it to his countrymen to show them that they, too, could be successful. Saddam wanted an Arab Champion whose struggles could mirror those of the Baathist Party. As you will read, Adnan could not refuse his old friend.
Sans Indian headdress and tomahawk, Adnan, who was appointed Saddam's General Director of Youth at the Youth Ministry, stages wrestling matches throughout Iraq and the Middle East. He becomes rich, a cultural icon as the Arab champion, and performs before hundreds of thousands of cheering fans. All the while, Saddam, who is giving the people bread and circuses and diverting attention away from his own plans, does not realize the matches he watches are performances.
Fame, as you will read, comes with a price.
The Sheikh of Baghdad is not a typical wrestler autobiography because it is a well-written, gossip-, beer binge-, drug- and raucous sexual exploit- free work. You'll laugh at how Saddam, fearful that Andre the Giant might actually defeat his champion, brings a solid gold pistol to the match, forcing Adnan to protect his huge opponent. You'll read sobering tales of Baathist cruelty but also of a man's desire to go back home one day and visit his family. Finally, you'll befriend an Iraqi who becomes an American, who lives the American Dream, and who wants others to have the same chances he did. The Sheikh of Baghdad gives a close look at life in Iraq under Saddam Hussein. It is evidence that Muslims and Americans can be friends rather than enemies, both in the ring and out.

Over Christmas, I was stunned to see a new wrestling autobiography, from wrestling's infamous "General Adnan". I snapped it up and read it, and was pleasantly surprised. This is one of the more interesting wrestling autobiographies to come out recently. (I've also read Ric Flair's and William Regal's.)

Older wrestling fans will remember the WWF's 1990 storyline coinciding with the Gulf War. In the storyline, Sergeant Slaughter teamed up with an Iraqi manager, "General Adnan", to side with Saddam Hussein's Iraq. In epic battles with Hulk Hogan and the Ultimate Warrior, these evildoers were eventually defeated. Slaughter became a behind-the-scenes employee at the WWE (still on television occasionally to this day), and Adnan disappeared. Who was this guy? I assumed he was just some taxi driver that Vince McMahon picked to play the role. Boy was I wrong.

Adnan Al-Kaissy really was from Iraq, and more than that, he was Saddam Hussein's official World Iraqi Champion for eight years! Adnan has a wealth of stories from his life, both from Iraq and wrestling in America's AWA as "The Sheik".

Older wrestling fans will be surprised that Adnan first wrestled in America as "Chief Billy White Wolf", and was the tag partner of Chief Jay Strongbow during the late 70s. (This shocked me, because I actually saw these two wrestle Mr. Fuji and his partner at the Capital Center in Washinton DC when I was a child.)

Later, Adnan returned to Iraq and introduced Pro Wrestling there. He would fly over friends from Europe and America, including Andre the Giant, to wrestle in the Baghdad arena. His opponents never won a match, however, as the Iraqis believed the wrestling was real, and would have killed the victorious foreigner. At every victory of Adnan, the crowds would fire off their guns in appreciation, terrifying the guest wrestler.

Adnan's stories about Saddam Hussein are the most interesting of all, and the most disturbing. Adnan knew Saddam from the time the dictator was 16 years old. Saddam was very political even then, he murdered a man who was a Communist rival. As Saddam climbed the ranks of the Baathist party, Adnan relates, he became more bloodthirsty and paranoid.

Saddam's paranoia, interestingly, was not unfounded. In 1960, Adnan relates how the entire Iraqi country watched on live television as their president was assassinated. They watched as he was strapped down to a chair, as thousands of machine gun bullets made his body smoke. The killings of Iraq's political leaders continued, president after president was murdered as the decades passed. Very informative, especially considering the political process that Iraq has today.

Adnan's story of how he became an American citizen, and how he yearns for a better future for Iraq, is spellbinding. Whether you're a pro wrestling fan or interested in the people of Iraq, I cannot recommend this book highly enough.

I haven't quite finished this book yet, but what I've read thus far is maybe 10% fact and 90% fiction. Sure, making up stories about links to famous people makes for more interesting reading, but personally I'd be more interested in hearing the real story. It becomes a lot more readable once he gets to the AWA years. Not the worst book on pro-wrestling by far, but not in the top 50% either. Oh, and I'm not impressed that relatives were able to get signed copies. LOL.

Sheik Adnan Al-Kaissy signed my copy to me! Any collector out there must have this! The book is not only about his life on the road as a wrestler but also his life in Iraq growing up as a friend of Saddam Hussein, it is incredible! You will actually learn some remarkable history with this book. Unbelievable what Sheik went through.

Full color Superman stories from Action Comics 248-254 and Superman 121-131, originally printed in 1959 more commonly called the Silver Age of Comics. Wayne Boring, my favorite Superman artist, which is not to diminish any other artist, is represented in eight of the stories. In the old days, before the corporate masters elected to shoot the industry in the foot, most stories were complete in one issue. And, what a treat they usually were. So, enjoy the stories and art, and don't forget to buy volume one. Also recommended for public libraries.

DC presents us with another fine collection of entertaining Superman stories from the late 1950s. This is "check your brain at the door" silliness, but the energy and fast pace of most of these tales carries you along. As with volume 1, the reproduction, print quality and color are excellent. But DC has done one thing wrong for which there is no excuse: the last story in the volume is Part 1 of a 2 part story...so you'll have to wait until Volume 3 (if there ever is one) to find out how it turns out. Surely DC could have afforded to throw in a few extra pages to finish the tale! That's why I couldn't give it 5 stars.

Potential buyers might like to know that all 20 stories in Superman: Man of Tomorrow Archives: Volume 1, as listed by a previous reviewer, appear in Showcase Presents Superman: Volume 1. The stories in Showcase are in black and white, not colour, and the volume includes many more Superman tales from the Superman and Action comics. People who have already acquired Showcase Presents Superman: Volume 1 might like to consider whether or not they wish to buy the same stories (in colour) in the Superman: Man of Tomorrow Archives: Volume 1.

Much like "Batman: The Dynamic Duo Archives", "Superman: The Man of Tomorrow Archives" represents a jump ahead from the Golden Age material found the "Superman Archives", "Superman: The Action Comics Archives", and "Superman in the World's Finest Archives". And as with the "Dynamic Duo", there isn't any "official" reason for DC to have chosen to have done this, beyond a desire to get Silver Age material out there. Plus, let's face it, Superman and Batman have been, and ever shall be, DC Comics Big Guns. From the get go, both characters appeared in many differnt series, and multiple "Archives" sub-series is warranted (although why this leap is made NOW is anyone's guess).

With the Silver Age of comics begun in 1956, and a whole variety of characters from the Golden Age being rewritten from scratch, it made sense to revisit the company's flagship character. However, what DC with Superman was not a dramatic rewrite, a la, the Flash. Starting in 1958, "Action Comics" and "Superman" saw the science fiction elements of the Superman mythos developed. It also saw a renewed focus on the "Superman Family", as Jimmy Olsen, Lois Lane, and eventually, Supergirl, got their own solo series. The New Deal Crusader Superman started out as was left behind, and the Galaxy Spanning Boyscout took his place. Everything popular culture remembers Superman for (the city of Kandor and the other survivors of Krypton, the Fortress of Solitude, etc.) appeared at this time, as did a more diverse and challenging rogues gallery.

We owe this creative shift to editor Mort Weisinger and his stable, most notably artists Wayne Boring (the definitive Superman artist for most the 1950s, and definitely one of my favorite Superman artists), Al Plastino, Kurt Schaffenberger, and Curt Swan, as well a writer Otto Binder, among others.

As this is material from the Silver Age, a reader of modern comics has to take these stories as they find them (thank you, Dr. Wertham). The focus on character development that is pretty much taken for granted in today's comics is absent. The stories are more plot-driven. This can be a mixed blessing. When the stories are good, well-thought out and imaginative, then the story is a treat, and you smile with joy. A good exmaple is the first story of the collection "The Super-key to Fort Superman", in which we see the Fortress of Solitude for the first time. Despite its reputed impregnability, someone has snuck into the fortress, leaving notes for Superman that threaten impending doom.

It was at this time the Superman villains got a much- needed boost. While Superman always tangled with Lex Luthor, most of his enemies weren't any physical match. This changed with the introduction of Brainiac (in "The Super-Duel in Space"), the evil android who travels the galaxy, shrinking cities for the purpose of building his own empire. The most important of these cities is Kandor, a Kryptonian city taken just before the planet exploded.

The stories weren't exclusively sci-fi. In "The Steeplejack of Steel" Clark Kent goes undercover on a construction site to catch a fraudulent builder. The crooks various attempts to knock-off this undercover snitch are amusing, and the story is a nice reminder that Superman is, by profession, a reporter, and does as much good in that job as when he's wearing a cape.

The relationship with Lois Lane and Jimmy Olsen are also well explored. In "Mrs. Superman", due to a series of plot (amusing) contrivances, Clark and Lois are trapped together on an island. Believing their situation to be hopeless, Clark comes clean, and proposes marriage. Naturally, things change so they can escape, and the real conflict is how Clark fools Lois into thinking he's not Superman. In the "Girl of Steel", Jimmy uses a magic artifact to grant Superman three wishes, one of which is a proto-type Supergirl. While this character vanishes at the end of the story, she did pave the way for Kara Zor-el, Superman's cousin.

As I said, not every story is great. The most glaring example is "The Return of Superman's Lost Parents" in which Clark's Earth-parents, the Kents (long dead) come forward in time to visit him. Of course, that's not what's going on, but the big problem I had was swallowing the idea that Clark would accept this couple without suspicion.

Aside from occasional clunker, the whole collection is a treat. Of course, in 1985, DC did an elaborate restructuring of continuity, so none of these stories are canon. This was a bit of a mixed-blesing. Change can be good. Lois Lane's perpetual schemes to marry Superman don't seem a particularly enlightened view of women. On the other hand, change can be bad. Brainiac was much more interesting before 1985 than he is now..

There is an element of innocence in this book that's really quite enjoyable. So while the Silver Age will always be hit and miss for me, the hits are far greater than the misses, and reading extremely fun. I look forward to volume 2. I do wonder if Wonder Woman (the third character of DC's "Holy Trinity") will be getting the Silver Age jump. I also wonder if "DC Comics Presents", the more recent team-up book staring Superman, is considered "Archive" worthy.

I just received my copy a few days ago. What a swell Superman collection from the 1950's. 20 fantastic adventures with the "Man of Tomorrow!" The stories from Superman and Action Comics are presented in original release order starting from June 1958. The first story is thought to be the starting of the Silver Age of comics for Superman, and is the adventure presenting Superman's first visit to the Fortress of Solitude. If I personally had chosen where to start in presenting the best Superman stories of all time, it would have been with the exact same issue!

"The Adventures of Superman" TV show had recently ended. For many years in the 50's the Superman comics emulated the TV show, and unfortunately did not use the full canvas available in the comic medium. This set represents the first steps in exploring all of the fun and crazy ideas that could only be presented in the comic format. The giant fortress and key alone in the first issue would destroy any TV budget. In this collection we get adventures from under the sea to outer space! The Kryptonian city in a bottle (Kandor) is introduced as well as arch villain Braniac! These stories are fun and appropriate for any age. Many of the stories are 8 pages long and can keep my 4 year old interested.

If you are curious about the best Superman stories ever created, then this is the perfect place to start. The artwork is presented beautifully and is drawn by some of the best Superman artists of all time including some early work from the greatest and most prolific Superman artist of all, Curt Swan!!!

I've been waiting for this set since the DC Archives began over 15 years ago, and here it is! If you get half of the enjoyment out of it that I have, it will be more than worth the purchase price! :-)

Here are the contents of the "Man of Tomorrow" Archive!

Action 241 (June 1958)
"The Super-Key To Fort Superman"
Writer: Jerry Coleman
Artist: Wayne Boring
[First appearance of Arctic Fortress of Solitude; generally considered to mark the beginning of Superman's "Silver Age"]
- reprinted in the Greatest Superman Stories Ever Told, and Superman Annual 1, among other places

Superman 122 (July 1958)
"The Secret of the Space Souvenirs"
Writer: Otto Binder?
Artist: Al Plastino
- reprinted in Best of DC digest 12

"Superman In the White House"
Writer: ?
Artist: Al Plastino
[Semi-imaginary story - Jimmy Olsen dreams of Superman becoming President]
- reprinted in Superman Annual 7

"The Super-Sergeant"
Writer: ?
Penciller: Wayne Boring
Inker: Stan Kaye

Action 242 (July 1958)
"The Super-Duel In Space"
Writer: Otto Binder
Artist: Al Plastino
[First appearance of Brainiac; first appearance of Kandor]
- reprinted in Superman Annual 2, and Superman 217 giant

Superman 123 (August 1958)
"The Girl of Steel"
Writer: Otto Binder
Penciller: Dick Sprang
Inker: Stan Kaye
[Prototype "Super-Girl" appears in this story]
-Reprinted in Supergirl Archives volume 1, Greatest Superman Stories Ever Told, among other places

Action 243 (August 1958)
"The Lady and the Lion"
Writer: Otto Binder
Penciller: Wayne Boring
Inker: Stan Kaye
[Superman vs. Circe - Kandor cameo appearance]
- reprinted in Superman Annual 3

Superman 124 (September 1958)
"The Super-Sword"
Writer: Jerry Coleman?
Artist: Al Plastino
- reprinted in Superman Annual 7

"Mrs. Superman"
Writer: Otto Binder
Artist: Kurt Schaffenberger
[Clark & Lois are trapped on a desert isle. Believing his powers permanently gone, Clark reveals his identity and proposes marriage (!!)]
- reprinted in 80-page giant 14 from 1965

"The Steeplejack of Steel"
Writer: Otto Binder
Penciller: Wayne Boring
Inker: Stan Kaye

Action 244 (September 1958)
"The Super-Merman of the Sea"
Writer: Otto Binder
Penciller: Curt Swan
Inker: George Klein
[Introduction of undersea Fortress of Solitude]
- reprinted in Superman 187 giant

Action 245 (October 1958)
"The Shrinking Superman"
Writer: ?
Penciller: Wayne Boring
Inker: Stan Kaye
[First Kandorian villain (Zak-kul), first use of an "enlarging" ray by a Kandorian]

Superman 125 (November 1958)
"Lois Lane's Super-Dream"
Writer: Jerry Coleman
Artist: Kurt Schaffenberger
[semi-imaginary story in which Lois dreams she acquires super-powers]
- reprinted in Lois Lane Annual 1

"Clark Kent's College Days"
Writer: Jerry Coleman
Artist: Al Plastino
[Flashback relates when "Superboy" became "Superman" during Clark's college years]
- reprinted in Greatest Superman Stories Ever Told, Superman 183 giant

"Superman's Mystery Power"
Writer: Jerry Coleman?
Penciller: Wayne Boring
Inker: Stan Kaye
- reprinted in Superman Annual 7

Action 246 (November 1958)
"Krypton On Earth"
Writer: ?
Penciller: Wayne Boring
Inker: Stan Kaye

Action 247 (December 1958)
"Superman's Lost Parents"
Writer: Otto Binder
Artist: Al Plastino
- reprinted in Superman 193 giant

Superman 126 (January 1959)
"Superman's Hunt For Clark Kent"
Writer: ?
Penciller: Wayne Boring
Inker: Stan Kaye

"The Spell of the Shandu Clock"
Writer: Jerry Coleman
Penciller: Wayne Boring
Inker: Stan Kaye
- reprinted in Best of DC digest 38

"The Two Faces of Superman"
Writer: Jerry Coleman
Artist: Kurt Schaffenberger
[Superman masquerades as Alfred E. Neuman (!?)]
- reprinted in Superman Annual 3

Excellent, valuable introduction and sampler to this topic; complements well Bob Edwards' work on Murrow and The Murrow Boys (and Girl)....
Appreciated especially:
the brief bios of the various chartacters, not only the well-known (Murrow, Shirer, Collingwood, etc.) but also the now lesser known (Paley, Paul White, Tom Grandin, for example).
The operative word here for both the book and CD is Intro....
What may be needed to supplement this work are CD sets of the actual broadcasts from archival sources, complete with the original intros and back-announces if extant. Indeed a sampling of a few original CBS evening news broadcasts in toto, to show how these overseas reports fitted in to regular domestic broadcasts. Of value would be the complete transcription of the first CBS Evening News Roundup, at the time of the Munich Crisis.
Years ago, CBS/Columbia issued a 2-LP set in the "I Can Hear It Now" series, of a sampling of Murrow's 1939-1946 broadcasts, from BBC and CBS archival material. This has been art of print for decades. A reissue of this on CD by Sony would be valuable, especially for the student of broadcast journalism.
Again, a very fine beginning.

I bought this as a gift for my stepdad who is interested in all things World War II, and I could tell by his reaction as he read it that it wasn't the most engrossing material he'd ever read.

I read the Rise and Fall on the 3rd Reich in high school, and I had always thought of Wm Shirer as a historian - I had no idea that he was a reporter during the war, and had a unique seat and understanding watching the Nazi drama unfold.

Great book. You can really appreciate the difficulty of getting a live broadcast from Europe done in 1938, and how hard Murrow and company worked at it. There was no "press freedom" then, and the deference the press is shown today didn't exist then. They were a courageous bunch, Morrow's boys. And look at the roster! Murrow and Shirer, Eric Sevareid, Howard K. Smith, Charles Collingwood, and back in New York, William Paley was calling the shots and rooting Murrow on. What a collection of talent. Amazing.

The only irritating thing about it concerns the CD - why did Rather narrate it and not Walt Cronkite? Cronkite had front line reporting experience in WWII (was on the beach at D-day and made a jump with the 101st) and ended up working for Morrow after the war. Every time I hear Rather narrate, I have the feeling he doesn't deserve to be talking.

Otherwise the radio clips are superb.

This is a unique and intriguing book which creatively captures the history of Edward R. Murrow and "Murrow's Boys." The book includes a CD containing 51 broadcasts just as they were heard live during World War II, with narration by Dan Rather. The text has symbols throughout, keying the reader to the CD track which compliments the written words with the voices of these brave men as they broadcasted from all over the world. The text includes concise profiles of the various members of Murrow's team: William Shirer (author of RISE AND FALL OF THE THIRD REICH), Eric Sevareid, Howard K. Smith, Larry LaSueur, Charles Collingwood, Winston Burdett and Richard Hottelet, among others. To those who remember WWII these names will be very familiar, and for those who do not, they tell the war's story with passion, intensity and professionalism. The authors have painstakingly researched the intricate details of how William Paley took the embryonic Columbia Broadcast System from a largely soft entertainment network to the premier news gathering and reporting organization which eclipsed all others during the war. The role Murrow plays in this evolution reveals a man of tremendous commitment to his craft, despite almost no previous experience in radio, with a great capacity for judging and selecting the others who became the critical reporters on his team. The travails of Murrow and the others as they faced death in flights over enemy territory, beach assaults and other combat assignments and suffered the tyranny of technological challenges with equipment strained to the breaking point make for great reading. The authors weave the complexities of personalities, politics, warfare and technology into a comprehensive and coherent book. The CD is haunting and chilling as these now dead voices bring back to the present momentous events which told America about the fighting of the war and the slow and painful process of winning peace just as they were happening. This book will be a superb addition to the library of any student of WWII and is also recommended for any reader who enjoys fast paced history in the making.

Collaboratively compiled and written by Mark Bernstein and Alex Lubertozzi, World War II On The Air: Edward R. Murrow And The Broadcasts That Riveted A Nation presents the stories behind the implacable and courageous radio correspondents who brought the reality of war itself into living rooms across the nation for the first time in history. More than 50 actual broadcasts, and an audio CD narrated by Dan Rather, enhance this unique and very highly recommended look at World War II events and personalities as the home front experienced it through the medium of radio broadcasting.

This book is a somewhat easy read, and somewhat enlightening when it came to beanballs and drilling batters in retaliation for violating the code. However, there are better baseball books out there on the other topics. For example, on cheating and steroids, check out "The Cheater's Guide to Baseball".

And to the previous reviewer - yes, the author had previously written a book on the hockey code, which is referenced several times in the book.

I am relatively new to understanding baseball and have been learning more about the game from my partner who loves it and has lived it her entire life. Baseball is a difficult game to ignore -- and with that in mind I wanted to learn more about the grit and grizzle of the game. I wanted to understand more about the psychology of baseball and why certain things are done the way they are.

Bernstein's "The Code" reads a lot like a documentary. You will find the pages splashed with gray boxes containing dialog from past and present players and coaches on such topics as retaliation, running hard into second base and beanballs (just to name a few).

As you read the book, you begin to understand some of hidden agenda and etiquette in baseball -- they call this "The Code" and it colors the way the game is played. You'll begin to watch your favorite team (for me, the Boston Red Sox) and understand why a player might run stone-faced around the bags after a home run with very little celebration. It's all part of the code. You'll understand why "pussy pads" can be frowned upon and how The Code has evolved throughout the history of the game.

I loved the book. I watch each BoSox game with a little bit more intrigue and understanding on why a certain action that looks retaliatory is done. It's all part of The Code.

If you love baseball and enjoy learning some of the inner workings regarding behaviors and etiquette, I think you'll enjoy this book just like I have.

Recommended!

I must admit to approaching this book with some apprehension. I thought it would revolve around justifications for bean balls and steroids. Instead it is a thoughtful and very interesting insight into how baseball players view the game and how it should properly be played. The book really does cover it all. It provides a subject by subject overview of what the code more or less is. Granted, we can not treat this like a text book as the code is well not very codified.

The examples given by former ballplayers are intriguing as are all of the historical examples going back to the start of the game. As you might imagine former players do not believe current players have proper respect for the code, but I see that as more generational then anything else. In fact I believe that is something the players themselves note in the book. I also liked the section on cheating and what is OK (stealing signs by observation) and what is not (steroids and using equipment to steal signs). The views of relationships with fans is also very interesting to see.

All in all this is a must read for serious minded baseball fans who would like to broaden their knowledge of the game. My only hope is that the author follows this book up with one about football, basketball and hockey!

Like hockey, baseball too has its own sacred code of honor. While it differs somewhat in scope from its icy brethren, the baseball code, like hockey, is also all about respect and disrespect. Baseball is a game steeped in tradition with rules dating back to the game's inception more than 150 years ago. Yet, while the code has been around since the early days of the game, it still remains a very taboo subject shrouded in a veil of secrecy. In fact, most players are downright uncomfortable talking about it on the record. You see, if they did, then that would be acknowledging that a code actually exists at all. Ross Bernstein, the author of 40 sports books, brings it all to life with the help of some 100 current and former Major Leaguers who he interviewed for the project.
The game of baseball is governed not only by an official rulebook, but also, and maybe more importantly, by an unwritten rulebook which is otherwise known as the code. It's the game within the game. So, just what is the baseball code? It is a system of intimidation, retribution and retaliation between pitchers and hitters; all in an effort to keep the game on an even playing field. Fear, and the fear of excruciating pain, plays a huge role in baseball. It takes a brave man to stand in front of a 95 mph fastball and not be intimidated when it comes flying straight towards his face. That fear, of being hit and injured, is what keeps the players honest. It is the basis for the code.
The wheels of the code are sent into motion when any number of certain situations occur on the field. For instance, when a teammate gets plunked, retaliation of some sort is required -- typically a retaliatory plunking of a similar caliber player on the opposing team. This of course changes if the game is a National League game, where pitchers are required to bat and there are no designated hitters. Pitchers in the NL understand that they are fair game if they so choose to drill a batter. These nuances between the American and National Leagues are all a part of the intricacies of the code.
With regards to the actual act of plunking the batter, there are many messages and meanings to consider. For starters, it is generally understood that when retaliating, it is a no-no to throw above the shoulders. There is a fine line between "chin music," and a rising fast ball to the head which leaves the batter no chance to duck out of the way. One is a nonverbal threat, a warning shot over the bow, so to speak. The other, meanwhile, is extremely serious and can permanently injure or even kill the batter.
Other innuendos which may require retaliation include such things as a hard slide to break up a double play at second base; or a batter celebrating too much after hitting the ball out of the park and then taking his sweet time to trot around the bases. This is considered very disrespectful to the pitcher and will be dealt with the next time the batter comes to the plate. Nobody likes to be showed up in baseball, and that is a lesson that sometimes must be learned the hard way. It is just understood that when you hit a homer, you had better get on your horse and start running. If you want to smile and gaze at the ball with love and affection as it clears the fence, then you better not think about digging in the next time you come to bat... because you will more than likely get nailed.
Exceptions to this rule might include a guy like Sammy Sosa, who jumps like a ballerina as he tosses his bat and then blows his trademark kiss as he is about to round first. Pitchers know that this is just Sammy being Sammy, no disrespect. Other guys like Barry Bonds, who stands there and watches the ball land in the outfield seats from home plate, they are detested. Bonds is also despised because he wears hockey-like elbow pads which allow him to crowd the inside part of the plate with no fear of being plunked. On the other hand, pitchers know that the code frowns upon plunking future Hall of Famers. So it goes both ways.
Further innuendos may include a pitcher trying his damndest to prevent back-to-back-to-back homers in an inning. The third guy up is going to get nailed because no pitcher wants to give up a hat-trick, or he will find himself on the bench pretty quickly. Even jumping on the first pitch with aspirations of hitting if out of the park may warrant a pitcher taking offense. It just depends on the situation. It is also OK to bowl over the catcher when trying to score at home plate, but not if the catcher has left a lane for the runner to slide by safely. It is also a no-no for a middle infielder to pretend to catch a ball to trick the runner or hitter. The same is true for a base runner who tries to trick the infielder by yelling or lunging at him to get him to drop a fly ball. Those things will get you drilled. Baseball players have memories like elephants and will get even, even if that means waiting weeks, months or into the next season.
And here is another thing: If a batter gets nailed with a 95 mph fastball on the fleshy part of his thigh, he had better not act like a baby and start rubbing it. No way. He should suck it up and be a man by simply "walking it off" on his way to first base. Period. A batter can never let a pitcher know that he hurt him with a pitch, that would be a psychological advantage and a clear sign of weakness. The code forbids it unless he is knocked unconscious or bleeding bad enough to warrant some medical attention.
Another innuendo which may require retaliation occurs when either the batter or a base-runner sneaks a peek at the catcher's signs to the pitcher. If a batter is caught doing so, he will be nailed. If the base-runner is caught doing so, when he is on second base and has a clear view of the catcher's hand signals, and then relays what the upcoming pitch or pitch location is to the batter, then he too will be dealt with accordingly. In addition, stealing the third base coach's hand signal signs for communicating orders such as base-stealing, bunting or to hit-and-run, are also part of the code, and may warrant retribution. Sign stealing plays a big part of the code. Doing it with your eyes to figure out the poker-tells is kosher; using electronics or technology is outright cheating. Both have been a part of the game for more than a 100 years.
Plunkings are just a part of the game and players understand this. The pitchers do too, which is why it is oftentimes tough for them to have to plunk an innocent bystander who may even be a personal friend outside of the white lines. The batters know the situations and usually know when it is coming, and they accept it. They also know the history of bad blood between certain players or between certain teams. Maybe there were words spoken after a game; or in the media; or even a blow-out game that was deemed as disrespectful -- all or any of those things may warrant a plunking. Or, perhaps a flame-thrower such as Pedro Martinez is simply carrying a grudge. Needless to say, there are many reasons as to why retaliation strikes may occur.
Pitchers are so accurate, to within millimeters, that they can place the ball with pinpoint precision exactly where they want it. If a player gets hit in a certain spot, and the situation is ripe for payback, then there is no doubt as to whether or not a bean ball is just that, versus a mis-thrown wild pitch. That's the ballplayer's intuition, or sixth sense, taking over.
The unwritten rules of baseball are not just about payback and retribution. In fact, there are many, many more fascinating aspects and innuendos to it. Situations such as what a hitter should do on a 3-0 count in a blowout game are a part of the code too. If he is swinging for the fences in that situation, then the opposing team will have reason for retaliation on grounds of disrespect by both the hitter as well as the manager who gave him the green light in that situation. Run up the score on a team and payback will be certain, that much is for sure.
It is also understood that you don't try to steal a base or bunt with a five or six-run lead in the last three innings of a game either -- that is considered rubbing it in and may warrant retaliation as well. Furthermore, a hitter shouldn't try to embarrass the pitcher off whom he just homered, and conversely, the pitcher shouldn't try to mock the hitter that he just struck out. The code goes both ways.
Other idiosyncrasies which may warrant a pitcher taking issue may include something as nonchalant as a batter trying to gauge the rhythm and speed of a pitcher while he is in the on-deck circle. This is deemed as unfair and disrespectful to the pitcher and he may take offense as soon as the batter steps into the batter's box. There are just certain things that you don't do on the ball field, and that is one of them. These unwritten rules of the code oftentimes are learned the hard way by trial and error and baptism by fire. It usually only takes one 95 mph fastball to the ribs to figure it out.
Sometimes the pitcher will just toss what's called a brush-back pitch, to get the batter to back off the plate a little bit. Nowadays it's called "throwing inside." Pitchers want the batter to be a little bit scared and to back off a bit, so that they can have the outside of the plate to their advantage with the umpire. Sometimes, however, the batter will not budge. That may warrant a plunking, depending on the situation. Other times, the batter may take offense, claiming that real estate next to the plate to be his, and his alone. When this happens, bench clearing brawls are oftentimes the end result of two alpha males barking loudly and holding their ground. When emotions take over, it's on, and the fans love it.
When a bench-clearer ensues, usually the batter will charge the mound. The catcher will try to tackle him from behind, but it all happens very quickly. Punches are thrown and serious injuries can occur in the ensuing melee. Pitchers have to stand their ground, but don't want to risk breaking a knuckle on their throwing hand by doing something foolish. It is a dangerous few seconds to be sure.
Players wear long metal spikes and foreign objects such as bats, gloves and catcher's masks oftentimes end up as part of the fray. Opposing players from both sides sprint in from their positions on the field and are joined by the reserves from both dug-outs, as well as the players from the outfield bullpens. Everybody pairs up and tries to make sure there are no unfair two-on-one scenarios. The umpires try to keep order, but things can get ugly in a hurry. The code says that if a guy charges the mound, then the rest of the team had better follow... or else. There is no room for cowards on a baseball team, so players know that they better "show up," or else they may find themselves sent down to the minors, or worse yet, traded or even released.
Other rules of charging the mound include the batter never bringing the bat with him. Back in the old days of baseball there are many a story about batters getting revenge on pitchers who nailed them with their 44 oz. hunks of lumber. Stories of players getting maimed are legendary, and are an ugly sidebar to the history of the game.
Most big league managers want their players to police the game themselves, rather than the umpires. Legendary manager Tony La Russa, of the St. Louis Cardinals, acknowledged in his book that he has ordered pitchers to retaliate and drill guys in certain situations. Probably every manager has done so, but few admit it publicly. A manager can't just yell out to his pitcher from the dug-out to plunk a batter, so he must have other creative ways of communicating to him about what he wants done. Those nonverbal innuendos are all part of the code. It might be a look or it might be a sign called in to the third base coach which is then relayed to the catcher. If justice needs to be served, then the pitcher must react and do as he is instructed -- or he too will be breaking the code.
The code has changed in recent years though, for better and for worse. Major League Baseball has gone through more than its fair share of heartache and controversy as of late and it has been forced to tighten its belt so to speak. The commissioner's office put a greater onus on umpires to reduce the number of benches-clearing brawls these days, and as a result a warning system was put into place back in 2001. Now, when an ump has reason to believe that a batter is being thrown at, he warns both teams instantly that the next hit batter, intentional or not, will result in the pitcher and manager both getting ejected from the game. A fine and suspension may ensue as well. This has changed the landscape of the code, forcing the players to change and evolve their tactics to conform to the new rules.
The code also deals with other random subtle issues on and off the field as well. Issues such as "what happens in the locker-room, stays in the locker-room..." are a big part of the player's code of honor. "Perks" that veteran ballplayers receive, such as the prime locker location in the clubhouse, may also be a part of the code. Other intricacies include: the media not talking to the starting pitcher until after he is done pitching. In fact, some managers don't even want their own players talking to the starting pitcher before or during a game, as to not mess with his mental preparation or perhaps for superstitious reasons. And a player knows never, ever to remind a pitcher at any point during a game that he has a no-hitter going. That can jinx it all in a nanosecond. Consider things like this to be "subchapters of the code."
Lastly, there is an entire section of the code that deals with the relationships between the players and managers, and the umpires. Just exactly what can be said and not said to an ump without getting tossed is an art form all to itself. It is just understood that players do not talk about the ump's mother, or he will be given a one-way pass to the club house. Knowing what to say, how to say it and when to say it are all a part of the code, and it can get pretty humorous for sure. Stories here are plentiful. Beyond that, it is generally understood that if a batter disrespects an ump or tries to show him up, then he will not be getting any special favoritism, or "good calls" in the future. Cross the line with an ump and he will make you pay one way or another. Some claim that there is a code within the code when dealing with the umpires.
The bottom line with baseball's unwritten rules is that it all comes down to one word: respect: respect of the game, respect of the past history of the game, and a respect of the opposition. The code, in a nutshell, is about players sacrificing individual glory for the good of the team. Professional baseball players make millions of dollars on the field, and for many, millions more off of it through endorsement deals. Players want to be individuals and stand out in the crowd. They have big egos and big personalities, which put a big "I" in team. But, they have to know that if they choose to showboat and act disrespectful towards an opposing pitcher or opposing team, then there is a price to pay for that type of selfish behavior. The code makes sure of that. That is why the game polices itself at this level.
The book will delve into many taboo subjects surrounding the code, including bench clearing brawls, the abolishment of the designated hitter, and even the issue of drugs and steroids in the "juiced ball era." Yes, the code is about respect, but it is also about how the game polices itself; accountability; and even about how players build team camaraderie amongst one another through intimidation and retaliation. It is amazing what standing up for a teammate can do for team morale. Boys will always be boys, and when a teammate gets nailed, intimidated or disrespected, then the wheels of retaliation are set into motion. It could be bad blood between two players or teams, or a heat of the moment incident -- either way, baseball players will always find a way to even the score. Welcome to the baseball code. Play ball!

This book is a must for everyone. I purchase this book every year to receive the "What's New" changes within the year. The book is very simple to follow with examples to explain in detail. Includes all the forms with example of filled-out forms as well. I read this book first, collect what I can use in my itemized items, and then file electronically. This book has saved me thousands. Best book out there!

This book is simply a compilation of the IRS publications found at www.irs.gov. I mean they didn't even change the wording one bit. Look at education credits then go download Publication 970 from the IRS' website. It is verbatim.

The only real reason to get this book is if you don't want to go get it from the IRS website. I give it 3 stars since it does provide an easier layout than searching the IRS website, but it really doesn't provide it in an easy to understand language so non tax professionals can truly understand what is going on.

I am not sure what book the previous person read, but it wasn't this one!!

Not only do they give you IRS documents and forms, but explains them line by line in real peoples language. Citing court cases and explains what to do and not do to get the best out of each line and every form.

File however you want, but this baby sits on my desk and is used to reference when I need to know how to get the best deduction or the legal view on a purchase, debit, sale or credit.

If you run any business or household.... Get the most from the money you make. E&Y help you do it with this guide

This continues to be my annual favorite. Although I now do my taxes electronically, I still get a "real" guide as both a reference and tutorial. It also makes for an easy way to see the big changes for the year. This guide has all kinds of information with very good detail and examples. The printing is easy to read and the quality is good. I have not found anything better in the competition ... yet.

What a delightful gripper this book is, chock full of impressive facts and tasty trivia rolled into a well researched sampler that's part cinematic history, part travel guide. You can thumb through for location addresses set off in bold type, followed by brief descriptions of the films associated with each, and then you can plan a proper movie maniac's pilgrimage. Just don't expect directions to private residences: You won't get to ring the doorbell where Macaulay Culkin was left "Home Alone" (1990) or hang out at the house where Tom Cruise ran his "Risky Business" (1983). You can, however, eat breakfast where Timothy Hutton and Dinah Manoff met for coffee in "Ordinary People" (1980) or have a "cheezbooga, cheezbooga" at the Billy Goat Tavern, made famous by John Belushi on "Saturday Night Live" and revisited in his 1981 romantic comedy "Continental Divide."

Bernstein delves into the early years of moviemaking, before Hollywood's crass monopolization of it, when the burgeoning film industry was nurtured in Chicago. Among the developmental milestones: the invention of the first cameras and projectors, the establishment of two of the world's first film studios, the practice of creating movie adaptations out of contemporary news events, the first African-American owned and operated film productions in the United States, the genesis of the independent film community, the weekly film serial, and the gore flick that typified the drive-in era.

The book covers an amazing list of films and TV shows shot in Chicago and traces the contributions to celluloid history by actors, writers, and directors who have roots in the city -- an illustrious roster too long to post here. Rounding out this special chronicle are interviews, film profiles, and behind-the-scenes glimpses of a specialized Chicago art, the innovative technology it demanded, the visionary gumption that birthed an industry, and the tough dreamers behind it all.

What a delightful gripper this book is, chock full of impressive facts and tasty trivia rolled into a well researched sampler that's part cinematic history, part travel guide. You can thumb through for location addresses set off in bold type, followed by brief descriptions of the films associated with each, and then you can plan a proper movie maniac's pilgrimage. Just don't expect directions to private residences: You won't get to ring the doorbell where Macaulay Culkin was left "Home Alone" (1990) or hang out at the house where Tom Cruise ran his "Risky Business" (1983). You can, however, eat breakfast where Timothy Hutton and Dinah Manoff met for coffee in "Ordinary People" (1980) or have a "cheezbooga, cheezbooga" at the Billy Goat Tavern, made famous by John Belushi on "Saturday Night Live" and revisited in his 1981 romantic comedy "Continental Divide."

Bernstein delves into the early years of moviemaking, before Hollywood's crass monopolization of it, when the burgeoning film industry was nurtured in Chicago. Among the developmental milestones: the invention of the first cameras and projectors, the establishment of two of the world's first film studios, the practice of creating movie adaptations out of contemporary news events, the first African-American owned and operated film productions in the United States, the genesis of the independent film community, the weekly film serial, and the gore flick that typified the drive-in era.

The book covers an amazing list of films and TV shows shot in Chicago and traces the contributions to celluloid history by actors, writers, and directors who have roots in the city -- an illustrious roster too long to post here. Rounding out this special chronicle are interviews, film profiles, and behind-the-scenes glimpses of a specialized Chicago art, the innovative technology it demanded, the visionary gumption that birthed an industry, and the tough dreamers behind it all.

Having lived in the Chicago area for most of my life, I really didn't need this book. However, I enjoyed it anyway. It does not contain everything (and doesn't tell you interesting stuff like how they distort locations in movies by traveling in the wrong direction in movies, etc.), but it does provide accurate information on shooting locations, etc. and how Chi played a minor role in the early film industry. The problem is one of Chicago being used in many movies.....so many, in fact, that you can't cover everything (and this book doesn't try to do it, either). Obviously, one of the great things about living here is that anything can happen. You can get off an early train and see Robert DiNiro looking like Al Capone.....or find out they are shooting a Tom Hanks movie two miles from your house. The really positive aspect of what this book does, is that it reminds you of the regional prominence Chicago has played in the movie industry. It makes me appreciate something I have always taken for granted. Wonder if Angelenos feel the same way? This is a book a Chicagoan or a traveler to Chicago can enjoy.

I can honestly say once I picked this book up, I didn't set it down until every page had been read! I'm not a film buff, but I was fascinated to learn about Chicago's rich past in the movies!

I found this to be an outstanding place to begin my education
as an investor. Great ideas, well organized. I love the rules
and investing model. Makes everything understandable at last.

A small book that is easy to read and is an okay starting place for beginners despite the fact that Bernstein conveniently makes a lot of recommendations for his own books. There's a little of everything, money management, what you should expect to make during your first years as an investor, a little technical analysis, some nice rules of thumb, etc. But this is also the book's weakness--it spreads itself thin covering a lot of topics in this short introductory book. For example, only elementary momentum analysis is explained and a beginning investor should have more information than that to start investing. There are better "starter" books and readers of No Bull Investing should be aware that they can pick up a lot of simple tips and rules from Bernstein, but should continue their education before diving into investing.

Yet again, Jake Bernstein has given us laymen a book we can understand. In these uncertain times, it is hard to know when to invest and who to trust. In my opinion, and indeed my experience, Bernstein has made the world of investing accessible and profitable time and time again. This book is an investment you will not regret!

This book put so many things into the proper perspective for me. I now know how to get started and how to improve my odds of success even though I'm a beginner. The General Investment Model was a real eye opener! HIGHLY RECOMMENDED

The Bernstein Boxed Set arrived in excellent condition and in good time. I am very pleased with my purchase.

Great read for anyone interested in finance or business. Delivered on time and in great shape.

I first read the "Against all gods" 4 years ago in Indonesian language (translated version). I was so captured with the book as the way it tells you about risk management world is so interesting. Nothing like I ever read before. Mr Bernstein is a very good "story" teller and he is succesful in making the discussion of risk management an interesting subject.
Few years later when I was in Hong Kong, I found this box set and without thinking further I bought it. It was a good purchase as I also found out that the "Power of Gold" is also equally interesting as the "Against all gods". I learned a lot of new things with regards to the origin of trading and international trading leading to the establishment of banking institution.
If you are into risk management and general economic issues, I really recommend this box set as your reading material.

they can make you sleep soon, but I can dream the content I red before falling into sleep.

Bought this for my kid, who is studying for math section of SAT. Inevitably, I had to solve quite a few problems myself :)
A good, thorough SAT math prep.

This SAT math workbook is the best. The problems are exactly like the real test and the solutions are clear,detailed, and very user-friendly.

great Book! Kind of hard but has good explanations!

This is a good book! It has a lot of math problems including geometry and algebra. It is SAT level and has great explanations!

While this Psycholgy book does have some good points and interesting approaches, if you use this book in a class setting you will be dissapointed. The questions that the proffesor will use for test and quizes are elementary. But so elementary that they are completly subjective.

This is an excellent book which I find very difficult to fault. It is clearly explained and well presented and the online materials accompanying the book are very useful. The way in which the subject is presented is exciting and, despite being introductory material, the book invites the reader to take their skills to a higher level by deliberate application of critical thinking. However, my only minor criticism is that sometimes the authours do not follow their own advice - sometimes they make statements which I find doubtful and arise where they failed to apply sufficient critical thinking! (Of course we are all guilty of this error sometimes). However, these statements are few and far between, as most of the time the authours examine more than one side to every controversial issue. It is interesting how psychology texts reflect the psychology of the authours, and this book contains some curious 'Westernisms' - this is not a criticism, just an amusing observation which reinforces a major theme of the book regarding how social psychology affects our own perception. For example, I am not entirely convinced by the way the book compares western capitalist cultures to eastern socialist cultures. I must re-read this section. Clearly not even psychologists are immune to social influences! This book is absolutely one of my favourites and it was a pleasure and an enlightenment to read it. I think the authours would actually be delighted by students who questions their interpretation, since this is the over-riding theme of the book - look at the evidence and then decide objectively for oneself, and that is great advice to anyone in any walk of life.

The text is the same. However, when compared to the student's edition, the instructor's edition is missing a lot of extras (sample tests, study hints, etc.) Those can be found on the website, but not in the book. In the student's edition, the extras take up about 200 pages.

If you want more material--Instructor's edition has less than student.

I don't know if this is going to reflect on the quality of the psychology book, or the caliber of books I have read and reviewed, but I must say, this introductory psychology book is one of the best I've ever seen. The examples capture the reader and are used in an intelligent way to demonstrate the major points of each chapter. And I was never bored once with this book, which is a big plus. A great book for an intro to psych class!