Dance Books

This work consists of sections which largely document Dr Suzuki's philosophy towards life and education (not just musical education, by the way). While I disagree with him regarding the level to which children are blank slates (I can tell you as the parent of two that they are individuals from before birth), most of the basic ideas hold out well. After all, inborn talent (which, unlike Dr Suzuki, I believe does exit) aside, we master what we spend time mastering. Furthermore, every one of us can become more noble than we are through real disciplines, including music (and this point comes across very well in this work).

Many years ago, I had the opportunity to hear Dr Suzuki's young students on a tour of the US and I was amazed at their musical sense-- something the Suzuki method in the US has not been able to quite capture. This book holds many of the secrets of his success.

In many regards, I see this as an important work on early childhood education and why wholistic education is important. Highly recommended.

If every parent follows the philosophy of Doctor Shinichi Suzuki, the world will be a very pleasant place to live

I love this book!!! It talks about success at music as well as success in life. Very uplifting and motivational.

This book should be required reading for music teachers, and for parents who would like their young children to have music lessons. I teach piano and violin to young students, and I felt it was immensely helpful to me. It was a constant reminder that patience, persistance, and a deep love of music will yeild the most profound results with even my most difficult students. It is all to tempting to dismiss the abilities of a particular child, especially one who tends to be uncooperative, instead of recognizing that each child has enormous potential. The touching stories Mr. Suzuki shares of students who overcame terrible difficulties, from blindness to infantile paralysis, to play the violin as best they could, moved me more than words can say.

The book wonders between autobiography, philosophy, history of how Suzuki's philosophy developed, and technique but the message is clear. Most children's success is dependent on the culture parents create EVERYDAY at their home and for their children. The parents are the creators of culture and the culture is what is done, talked about, emphisized, supported, given time to, and encourage everyday with love. It is easier if society at large supports the culture that parents want but parents ultamately have to create their own culture for their children and the key is what is done everyday and it requires a serious investment of time.

We are what we do everyday (Suzuki is in line with Aristotle on this one). Patience, perserverance, determination shrouded in love 15 minutes a day, for a child, is better than an hour one day a week. Parents talking about it, encouraging it everyday, making it the family culture, are keys to success in music as most anything for most children. There are a lot of distractions that wish to throw our children into worshiping the vanities in this world, the best way to fight this is to create an inner dignity and harmony that comes from a serious but loving endevour everyday.

This is a must-have item. It is an incredible beautiful book. If you are a pethead, you must have it. But, if you will buy this item, you must have in mind that is a catalogue of items, pictures and comments, the name is literal, not a book as "PSB vs America" or "Literally".

With 14 reviews already written, I doubt I can say anything that hasn't already been said. But I will give a short review of my impression of Catalogue.

This book is more like Pet Shop Boys history in pictures. While it's true this is a catalogue of all the album and CD covers. It is also the history of Pet Shop Boys in a brief chronology near the back of the book. It gives a time line of what they were doing on particular dates.

There's also an interview from April 2006 with Neil and Chris by Chris Heath. It also includes a complete in depth discography of all their singles and albums they released.

The silver cover of the book makes a great coffee table attraction. It's a must for any Pethead's collection. It's also a great reference book for new fans of the boys. For those who never subscribed to the fan club will enjoy looking at the various Christmas Cards and cover art of the fan club magazine Literally.

I purchased multiple copies so I could have one on display and to thumb through and one is kept sealed. At this great price, who could resist?

Pet Shop Boys Catalogue

El libro es excelente [casi una obra de arte] en el cual se repasa la historia gráfica del dúo a través de sus primeros 20 años de carrera. Un verdadero must para cualquier fan de los PSB.

This book is beautifully packed and chronicles the product of the pet shop boys for the first 20 years. It includes album/single covers, tours, costumes, videos, etc. It is worth every penny and a true companion for any psb fan!

You can easily forget that Chris and Neil, Pet Shop Boys have been making fantastic music together for close to 30 years now. This large volume is an authoritative visual representation of what the PSB have done throughout their career. If there is one problem (not really) it would be that since they Boys are still active, the book will be outdated nearly immediately following its publication.

Its fun to see all the international releases, versions, one-off items that have come from their musical output, from singles to albums to videos to other books. Catalogue is comprehensive to say the least. And the photos are many, and all relatively great quality.

This is a true gift to the real PSB fans. It is sort of like your own personal scrapbook if you've been following the Boys through the years or a wonderful collection to introduce newer fans to the career that Neil and Chris have enjoyed. Price seems more than reasonable for the quality of the book. The cover is stunning and makes a great conversation piece for your coffee table. It just sort of begs to be opened with its silvery cover image.

Pet Shop Boys fans should be thrilled that such a volume exists and that the artists have seen fit to offer something of this scale. So many bands, defunct or ongoing seem to spurn their fans requests for such items. In this case, no matter what the intent of the artist--whether purely self indulgence or wanting to give back, the fans who purchase this book are the winners.

Love this book. Love the Boys. And most importantly, Love the music they continue to release. Left to your own devices, you probably will buy this book.

It's interesting that throughout years of studying acting, I've jotted down lists of what I felt I needed to do to prepare. When I came upon this book, she not only listed everything I had on my list, but so much more to a fuller and deeper extent.

This book is like my acting "bible."

Love it.

I have been an actor for 5 years now. I've studied in multiple disciplines with multiple coaches. And over time while that has improved me as an actor, it has confused me as well. I have so much information and styles running around in my head that at times I have found that I have forgotten the basics. In addition, I haven't been able to find a systematic approach to acting that brings everyting together. Until now.

I was given Ivanna's book 2 years ago and never took the time to read it. I was studying with someone else and thought I was doing what I needed. I decided to pick up the book a few months ago and I found Ivanna's technique was what I was missing in my acting, a structure to wrap all of my thoughts and training around.

This book appeals to me as a person who likes some structure when approaching a script. However, it still encourages me to make discoveries and remain in the moment. It has truly opened my eyes to the possibilities that Ivanna's technique allows in delving into a character's psyche.

Not only was the book richly rewarding for me, but it has led me to her acting studio to study under her guidance in hopes of further utilizing her knowledge and approach.

I can't recommend this book enough for the working actor, as well as the newcomer. All levels of actor can benefit from the technique and structure she provides. Not to mention Part 2 of the book is FANTASTIC in preparing for auditions by offering some insights to careers and hang ups people have.

I don't go anywhere withouit it...If you are serious about being an actor you need to be familiar with the Chubbuck Technique...you need to read the book! It has changed me as an actor and as a person...I feel empowered.

This book opened my eyes to another way of operating. I now use this technique even in my class scenes. Like AMEX, I don't go anywhere without it!

I wouldn't recommend this book for raw beginners, but someone who has a working knowledge of acting and stagecraft will find it immensely valuable. With its full exploration of the "why" of techniques mentioned in other texts, Ms. Chubbuck's technique refines Stanislavski to a practical and accessible recipe for creating believable and powerful characters. Highly recommended!

Wonderful! Very insightful and informative. A great addition to anyone's bookshelf. I highly recommend it.

This is an excellent book to aid in the understanding of Shawshank Redemption, whether studying english or mass media.
I found the book to contain additional details on story boards and amended scenes, which indicate the way the script writer, Frank Darabont, adapted the story to film.
Thoroughly enjoyed the script, especially as I can read it in places I can't view the film, i.e. work.

As a rule, don't buy shooting scripts if you want to write a screenplay. Shooting scripts are finished products.

That said, screenwriters can learn from this exploration of the classic movie (yes, folks, it is a classic, it's been shown a billion times on TNT), by reading the deleted scenes (my personal favorite is one about the publicity of Warden Norton's prison-to-work scheme, in which Heywood, played in the movie by William Sadler, gets his best and sharpest lines for someone who's supposed to be the dunce of the movie), the storyboards, the explanations of which scenes were kept, etc.

And for people who just love the movie, it's a must-own.

This is a truly fantastic piece of work!!! If you really enjoyed the movie, and is fascinated by the art of filmaking, this book is for you. More than just the script of the film, the analysis by Frank Darabont takes to a totally different level and perspective. It actually makes you think like a Director. Other than this, just being in the production yourself... This is a true making-of The Shawshank Redemption, that is totally worth the price.

As Frank Darabont says in the introduction of the book, who else would buy the screenplay unless they really want to know more about the film? Sticking to that idea, Darabont has given the film student/buff, and those who simply love the movie, a real treat with this book. Not only does it contain the screenplay, it's the screenplay (I emphasize) AS IT WAS WRITTEN BEFORE FILMING. He's published it exactly as he wrote it when he adapted it from King's novella. I point this out because, as Darabont himself points out in the intro, so many screenplays that are thrown out by merchandise wizards are nothing but the finished movie transcribed. And really, what good is that to someone who wants a deeper knowledge of the film?
Not only does he give us the original screenplay, he gives us a scene-by-scene comparison of the screenplay vs. the finished film, and why things got changed/added/left out. This, in particular, says a lot about Darabont to me. This is a man who wants to use his work not only to be what it is (a GREAT film), but to educate as well. This book inspires. He includes storyboards, as well (including a storyboard for a deleted scene- oh, goody, goody!) and introductions by both himself and Stephen King, and a summarizing bit of advice to budding filmmakers and screenwriters. I devoured this book in short time (one night), lol, and found myself going back to the film to compare and analyze- if you don't do the same after reading it, I'll eat my foot.. okay, maybe not. But something drastic, I warrant you. If you are at all inclined to learn about filmmaking, writing, or even if you just love "The Shawshank Redemption" (which is what lead me to the book in the first place), this is a real must-have. It's worth the price alone just to read what he had to say about filming Freeman's scene walking through the field after discovering Andy's message. Trust me. By the way, fellow "Shawshank..." lovers are welcome to ...discuss it. Enjoy this book, everyone. It's a real find. And I'm SO glad I chose to buy it. The ONLY reason I give it four stars as opposed to five is because, personally, I would have liked to have seen more storyboards.

This is an excellent book to get you on the right path to reach your goals in the music business.For years I have been trying to find a way to get my career moving to no avail. And with this book I found out what mistakes I was making that was keeping me from growing if you are serious about making it then take control of your career and get this book it is easy to follow and remember the music business is a business and with this book you can learn how to move with the business.

This is an excellent book. All the tools necessary for success are included here. Stiernberg even gives you the format and ideas for a business plan, which is essential for any serious entrepreneur. Everyone in the music biz should get this book.

I've read too many music business books that try to be all things to all musician readers and end up being shallow overviews of the industry. Succeeding In Music focuses on one thing and does it thoroughly. At its core, SIM could be called a musicians textbook for writing a business plan. Each chapter takes you through the steps necessary to make a legitimate small business out of whatever your music venture may be. If you're looking for cute anecdotes or secrets to getting a record deal, this book is not for you. In fact, it's a rather dry read. But if you want to make a serious business out of your band/record company/studio etc., then this book is the first step that must not be skipped. It IS a workbook, so it will take some work. I found the sample plan at the end of the book to be particularly helpful, and the enclosed CD-ROM contains all the forms and worksheets found in the text. This book is a necessary edition for those of us who want a music career and are willing to do the dull stuff it takes to get there.

A great title detailing the ropes for all the people involved in producing a hit record. Given that so many people are involved in the producing cycle, starting from the songwriter to the promoter to the performer, it is hard to collect all the information into one title. Fortunately John Stiernberg succeeded in putting all that is needed for producing hit records into one title, explaining the parts of all the people involved and detailing each role with real life examples.

I highly recommend this book to gain greater insights in the Music business or any business. It was a great buy along with a couple of manuals I purchased from Musicbrains.net entitled the Indie label Kit.

I have a number of Voice over books, and this one is hands down my favorite. Even though I've worked in the voice industry for years, there are so many proven voice techniques in this book that I keep it handy in my studio. I strongly recommend it to beginning students as well as veterans.

My favorite aspects of this book are:

- outstanding presentation of the fundamentals of voice over. When you read each technique, it's absolutely clear how to use it AND how it improves the result.
- great advice for revising my demos (or creating them if you don't have one)
- interviews with copy writers and agents, to give a real-world view of the industry

I've seen proven results in my own work, and I highly recommend this book to anyone serious about a career in voice over.

I'm at the beginning of my career in voice-over and I've read a good handful of books on the topic and taken tons of classes...but rarely has anyone "broken down" the essentials of technique quite as clearly and succinctly as Elaine Clark does in this book. For the first time, I felt like I had some practical tools I could refer to when approaching copy, which not only gave me a promising ground to start from, but also helped build my confidence and desire to "stick-to-it." Rather than give you hollow, abstract phrases about the need to connect emotionally to the copy, she shows you "how" to make it "yours." Obviously she's a great teacher with a lot of experience, as she leaves no stone unturned in this book with regards to what to expect in every aspect of this career and how to be best prepared so that you can succeed.

Elaine Clark is my guru. I have read this book a number of times since purchasing it in 2001, and I return to a number of specific passages when I need a refresher. Having worked steadily in this business for 20+ years, and having purchased many books on voice acting, I 've found "There's Money Where Your Mouth Is" to be my absolute favorite. The reader is taken from the basics to the multitude of details involved in running your own successful voice-over business.
Thanks to Elaine Clark, I have grown professionally as a voice actor, and enhanced my voice acting and copy interpretation skills.

If you are at all interested in VO, get this book. I read it cover to cover a year ago, and I've been cherry picking those areas that I've needed to focus on ever since. Now that I've marked up my copy at least three times and pages are starting to break loose of their binding, I'm ready to get an agent and start working. If your an actor or improvisor this book will help all areas of your artistic endeavors. The nuances & subtleties of speech are examined in great detail. The bottom line throughout this book is how to stop "acting" and be real. The market is hungry for every day real people. There's a pot of gold at the end of this rainbow, pick it up.

This book is very helpful for those new to the industry. It contains information about putting your demo together, about getting an agent, and has sample copy to practice with, and tips for exercising your voice. I definitely reccomend this for anyone who is interested in trying this line of work for the first time.

I would recommend "What Every Pianist Needs to Know About the Body" to any student, teacher, or hobbyest of the Piano or Organ. It is very helpful and informative of just how are body is structured, where our points of balance are, and how we utilize those points to enhance our playing. It discusses key information about how we should think of our bodies as we play in order to produce the best music possible, and especially to avoid, or recover from injury. Through understanding of the concepts herein, one can attain balanced playing where ones body is unified with their kinesthetic sense and with the music itself, as they play with ease and satisfaction.

Very informative book. I have to read it again and consult with a physiotherapist. But as far as I understood, it is an extention of Alexander Technique and it further explains all what is used on piano technique. It further explain forearm rotation which is essential for proper piano technique. It also demystifies wrong picture about fingers, wrists, shoulders. In simple words it's a musthavebook.If there is a BODYMAPING course in area where i live, i would already be on that piano class.

Update, I have just finished the book. All pianists should have this book. I am anxious when they release DVD Video related to this book. There is a VHS version for purchase but i'll probably wait for digital one.

This book contains a great deal of useful information for all kinds of pianists so the name is actually quite apropiate : What every pianist needs to know about the body. And that's exactly what it is. Unfortunately I discovered this book late, but fortunately, not too late; I've just recovered from a injury that's kept me away for over half a year from playing my beloved instrument. Now I know what I did wrong, and also how to correct it. I'm not saying I'm already done, I will need some rereads of the book. Taking in the process some notes to apply to my daily playing. It won't be easy but it will surely be worth it. I reccomend this book to everyone interested in not just recovering from injury, but also to everyone interested in improving their technique.

I am becoming so much more aware of my body in all of my life and also a much better piano teacher. It will help you to be a healthier and happier person if you take it to heart.

I am a 17-year-old pianist from New Jersey. I am almost finished with reading this book, and I found this book very useful for mapping my body and applying it to my own playing. This book is not just for pianists, but every musicians. You will be satisfied, and this book will make your playing easier, freer, and more expressive. You will enjoy reading this book. This book will lead you to better playing and you will be aware of your body movements. This is a very well-written book that deserves not just 5 stars, but maybe 10 stars! A wonderful guide.

A terrific book, full of spectacular photos and diagrams,
and including an entertaining and informative text. First class!

Very few movies of the late twentieth century stand up to the test of time in the way of 2001: A Space Odyssey. This book tells the inside story of how this ground breaking film was made, and how it changed the outlook of a generation.

Its large format, crisp color reproduction, and amazing depth of detail make this one of the best 2001 books available. In fact, I had to own just one, this would be it.

In this age of computer generated imagery, it's fascinating to read in detail how 2001 pulled off its brilliant and never-dated space visuals with entirely manual processes. Seeing the incredibly huge and complex film sets, the detailed models and animations, and innovative camera techniques used give me a new appreciation for the magnitude of the film's greatness.

What is largely missing from this book is insight into Kubrick's source ideas and meaning for 2001. It's probably too much to ask for that in addition to the books fantastic production story.

I found Piers Bizony's book fascinating and I'm continually amazed at the work this film achieved for its day (and today in many respects). It defined the genre. It's filled with great stills, diagrams, and behind-the-scenes photography of the filmmaking process.

However, if you're looking for a book that gives you an inside peek on the filmmaker and his decision making process for the story (or authentic insight on the story itself), you'll be disappointed. 2001 is a complex storyline with metaphore upon metaphore and the Bizony never seems to achieve a 'true' account by Kubrick on the film's meaning. It's more guessing, speculation, and hypothesis that add to the voices weighing in regarding this important film. I suppose in some respects, it adds the mystery and weight of story... and will remain that way with the passing of Kubrick in 2000.

This brilliant book's visuals alone make it worth adding to your collection of film books. Of course, Kubrick fans need it the most.

But what the book also speaks to, beyond Kubrick's compulsive fascination with technical accuracy in film, is how the effort in making this movie addressed our ambitions and fascinations in the 1960s. In a time where old social conventions were breaking down, right and left, 2001 spoke to a new optimism created by space exploration and its seemingly limitless potential.

"Capturing the imagination." Good movies achieve that goal, don't they? In this case, a fanatical dedication to research, and to placing on film the most accurate and, in a weird way, understated views of a human future in space, creating something really new in moviegoing experience.

In its time, that effort became quickly subsumed by two divergent audiences: people who wanted to enhance their drug experiences with visuals, and people who wanted to be in space. Of course, these audiences made the movie very, very successful.

Today, we have left this movie's technical accomplishments in the dust. We can depict space travel and its related phenomena (like weightlessness) in a relatively effortless way. Film special effects pour out, today, in ways not imagined in 1967. You could read this book as a quaint history tract in movemaking technics.

I read it beyond that, though. It spoke to the excitement and optimism with which many of us viewed our future. We ate this stuff up; we could sit through two reels of a spacecraft docking and think the time just flew by...

How do we feel about the future today? It is now highly unfashiomable to label yourself a "futurist" any more. It seems our future is all behind us now.

Thank God these things run in predictable cycles. Collective optimism about our future in space is just around the corner. I hope I live long enough to see and enjoy it...

When I went and saw "Assassins" for the first time, I honestly wasn't sure what to expect. I've been a Sondheim fan ever since I began watching "Into The Woods" at the tender age of four years old... but I don't think I was sufficiently prepared for "Assassins". And that's a good thing.
"Assassins" keeps you on your toes throughout, being able to make dramatic changes from the light-hearted to the tragic in the time it takes to bat an eye. Perhaps most striking is how you come to like and sympathize with every one of the assassins, while still knowing that they all have their dangerous streak.
Moreover, "Assassins" deals with a common subject in a very uncommon way. The overall 'theme' says "Everybody's got the right to be happy." The brilliance in this statement is not in the statement itself, but within the context of the cold-blooded murderers with it has been placed. It gives us the lesser seen perspective of life from the point of view of these historical figures who had major problems with their lives and with themselves. Rare, even in the history books.
In fact, "Assassins" has been a better history lesson for me than nearly anything else. The play is very highly based on the facts of every person's life and the details of their assassination attempts. Good for theatre buffs and history teachers alike.
Go Sondheim, go!

Well, I was not very well aquainted with Sondheim, though I had heard of him. Then I was fortunate enough to be cast as Sam Byck in a production of Assassins. I have to say, the show was an experience like I can only hope to have ever again. Weidman's writing brings to life thoroughly disturbed characters in a way the audience can relate to. It shows us the world of a psychopath- looking out from the inside. My first thought was to question whether I could do justice to the material. The incredible intensity of the scenes and the forceful emotion of the songs is nearly overwhelming. From the actor's point of view, I can say only that a sense of desparation is omnipresent, even in the comedy, and that there is the feeling of a great injustice, and perhaps an epiphany that never quite came. I encourage anyone who can to try and acquire a copy of the London production( I don't know if there are any official ones, but as any theatre enthusiast knows, there are ALWAYS bootlegs), or of the new production when it becomes available, because of the added song "Something Just Broke". This incredible piece serves as an important... I think the word is catharsis. I remember crying backstage during the first show, because it put a sharp point on the events of the previous scene, where Oswald takes his shot. The play itself also brings into focus the background of the assassins, and those lesser-known souls who tried and failed( like Byck). While it won't appeal to everyone, it is definitely worth looking into for Sondheim lovers and US History buffs. And serious performers will find the songs and text rich with meaning. I recommend this show, libretto and music, to anyone with an open mind, or a love of art.

I profess to be of a young age, and those who don't know me would probably consider my experience with musical theatre to be rather inextensive. I am, however, even at a young age, a Stephen Sondheim admirer. Yet even I, whose favorite musical is the ghastly and mind-numbing masterpiece "Sweeny Todd," was not entirely prepared for the unabashed "Assassins."

Assassins combines all the would be and have been presidential assassins of the United State's history and throws them all into a timeless world where Charles Guiteau (Garfield) can chat with Leon Czolgosz (McKinley) and Sam Byck (Nixon) at a bar while John Wilkes Booth (Lincoln) reads a copy of Variety magazine. It is more of a revue than anything, but the music (which you MUST own if you're going to buy the libretto) is so moving and so powerful it actually is able to draw sympathy for Lincoln's assassin. If the prospect of feeling pity or sympathy for Lee Harvey Oswald makes you angry, Assassins is not my recommendation.

Indeed, Sondheim and Weidman sucessfully made me feel sorry for Leon Czolgosz and Booth and Oswald and nearly all the characters in the musical. Some may think it unpatriotic; I think it presents the other side to woefully biased history lessons claiming the Assassins to be vengeful madmen searching for chaos. Assassins truly brings to light what's wrong with the American dream, and for any history buff, Sondheim fan, or just plain theater fan, Assassins is a MUST have.

All I can say about this play is that it is sheer genius. I was fortunate enough to see the Broadway revival cast act it out in Studio 54, thus can safely say that the play is just as shrewd and clever onstage as it seems in the play.

The thing that often repels people from 'Assassins' is firstly its subject matter - assassins and would-be assasins of presidents of the United States - and secondly, the way it handles its subject matter. 'Assassins' neither trivializes nor glorifies its characters: what it does is examine them, and let the audience make the decision as to what prompted them to commit the crimes they did. On stage, the play is chilling - seeing "Squeaky" Fromme carve an 'M' for 'Manson' into her forehead at the end of her number with John Hinckley 'Unworthy of Your Love' does not seem disgusting; it is entrancingly horrific. And this is not even mentioning the song 'How I Saved the President', the fast-paced narrative of Giuseppe Zangara's attempt on the life of President Franklin Roosevelt: it rises to an eerie feverish pitch and ends with a jolt - literally. The singing ceases only when Zangara has been electrocuted.

I realize that the above description may seem to portray 'Assassins' as a gruesome horror-trip into history - but really, that is not what it is at all. The rises and falls of emotions in the songs (apparent in the book as well as in the play) are shrewdly placed so that the viewer can't quite bring themself to feel sorry for the assassin, exactly, more fascinated. And this is what 'Assassins' is - a fascinating look at some of the most forbidden American taboo in our country's history. The play jumps on its subject matter with surprising gusto - it does not jump delicately from point to point. It attacks its topics and does not let the audience leave unshaken.

I feel as though I should probably mention that reading the book and seeing the play live are two different things. They are both thought-provoking and interesting looks at the various assassins - but a certain emotional element is lost in the text. Not that the book is bland and dry - far from it. However, seeing Charles Guiteau dance his way up to gallows feverishly reciting his poem 'I Am Going to the Lordy' is slightly more morbid than reading it.

Highly recommended.

This review is by Crosley.

I had become very well acquainted with the score to Assassins before I read the script, and I think John Weidman may have done the impossible: he may have overshadowed Sondheim's score with his book. Don't get me wrong, the music and lyrics are phenomenal, but the book is what really matters in this one.

Assassins is an examination of the dark side of the American Dream and those it has affected, namely, those who have tried to kill presidents. Most of the assassins actually have good reasons for their efforts. The play has gained a lot of bad publicity for "glorifying assassinating the president," "being unpatriotic" and "trivializing terrible events." The play does none of these on any level. I said that some assassins had good reasons. I did not say that their actions were the right thing to do, because they weren't. However, the play rehumanizes people that society has dismissed as one dimensional madmen. Hence, the Balladeer. The Balladeer represents the traditional, one sided view of the assassins, and is used expertly. The play keeps in mind the fact that the assassins are dangerous people who should be condemned, but it also keeps in mind that they are indeed people. The scene between Csolgosz and Emma Goldman is wonderfully poignant, and allows us to see a side of Csolgosz rejected by the world, and it's things like that that make the characters much more real.

By making the characters real and at least vaguely sympathetic, the play succeeds in such a way that could never be done with demonized characters. Since the assassins are made human and just like us, Americans trying to live The Dream, they are infinetly more terrifying and frightening, because now we can identify with them, and see the clear and present danger in America.

They all have different motives, but there is one thing that ties them all together. They thought The Dream was not a goal, but something they were entitled to, and when they didn't get it, they wanted people to listen. Hence, drastic measures. Booth's anger with Lincoln is very real, and the crimes he lists against Lincoln are all true to some degree. Csolgoszs' anger at the working man's plight is completely justified, considering his working conditions and wages. Few of them have motives that we can't understand (except Moore and Guiteau), and again, they are that much worse because of it.

This is not to say that the play is not funny. Au Contraire, Assassins is one of the funnier plays I've read, mostly because it preys upon the assassins' character flaws and quirks and exploits them for some great comedy. They're even funnier if you know about the personalities of each for whatever reason. For example, regarding the scene where Guiteau hits on Moore, it was known that Guiteau hit on anything with two legs (usually unsuccessfully), and Moore, who had been married five times (each husband was more successful than the last), may have been roped in by Guiteau's line of "How would you like to marry the ambassador to France?" It's really quite good. The scenes between Moore and Fromme are priceless, as are Byck's rants into his tape recorder, hamburger in hand. "I am Unworthy of you Love" is a gorgeous song, and in context (being sung to Jody Foster and Charles Manson by John Hinckley and Squeaky Fromme, respectively), it's uproarious. Thank God for Weidman's wit, because this is a show that definetly needs comic relief.

The interesting idea that the play presents is that the assassins are just as American as anyone else, because America is "The land where any kid can grow up to be president," and likewise, "Any kid can grow up to be his killer." Comedy, tragedy, laughs, tears, a message, great music, Assassins has it all. The scene near the end with Lee Harvey Oswald is one of the most powerful scenes I've ever read. In fact, it was recorded on the soundtrack, because it's just that important. Delaying Oswald's appearance for so long was a great move, because the audience, after being emotionally assaulted by the other 8 assassins, is finally pushed over the edge with an event that most of them were alive for and remember. The triumphant chords after Oswald's shot give me shivers every time I hear them.

Assassins is a phenomenal play that unfortunately is rarely produced. I recommend reading the script and enjoying the excellent score to people looking for something a little different (hey, that's Sondheim for you), a little funny, and a little scary. The show will live on because of its relevance, and it's a wonderful addition to the American Musical Theater.

LOVE IT, BEAUTIFULLY WRITTEN.
Would love to get more of his silent films
The General is wonderful!!!!!!
I LOVE Amazon.com..........you have everything
Thankyou

I can't believe I've reached my 50th review.And it is happily on a topic near and dear to my heart.....Buster Keaton.
Buster was not as appreciated as he might have been in his 1920s heydays.And when his downfall at the hands of MGM came in the early 30s,as far as the public was concerned he was just considered just another fatality
like so many of his peers that occured in the late 20s and early 30s with the conversion to sound.He was soon forgotten.
But it didn't keep Buster down the least bit.He eventually battled back from depression and acute alcoholism.He was rarely out of work for very long and whether behind or in front of the camera he continued on like a trouper for the rest of his days.
The man lived and breathed comedy and never lost his ability in the development and creation of gags.And of course his masterful directing abilities and knowledge of the camera were unquestionable.
Buster fortunately lived long enough to see a steady resurgence in his popularity and homages from many in the film industry.And his public persona also reached new heights as new generations rediscovered his older films and/or relished his appearances in newer films and on TV.
This book then is a fitting tribute to a legend and one of the GREAT(and I don't use this word lightly) purveyors of screen comedy in the 20th century.
It is first and foremost a pictorial tribute.It is absollutely filled with wonderful photographs,some I have seen but others I have not.
It even has a photo montage of a Buster how-to on creating his trademark pork pie hat.
All this is nicely rounded out with text from the author and most especially his late widow Eleanor.
All in all I recommend this book highly to those who are just discovering this great screen comedy genius.There's no better way to acclimate yourself to his life and career.And to those like myself who have known and adored this mans' work for years,this book should be an essential piece in the Buster Keaton section of your library.

I've always been a little disappointed that Buster Keaton gets overshadowed by stars like Chaplin, mainly because he was more than just a silent comedian. In many ways, he was a daredevil of his time, always doing his own stunts and risking his life on several occasions. In today's Hollywood, what star would've dared let a whole house fall on him and miss by mere inches as Buster does in Steamboat Bill Jr.?? Not even Jackie Chan would've tried that one!

With that in mind, Buster Keaton Remembered is superb at illustrating a lot of the stunts and tricks he used in making his best movies, not to mention the man himself, with some glorious candid and studio photography.

The only real disappointment I found with this book is the text's general lack of depth. Sure, the classic shorts and features are all here. But his later work (post-1940) is generally glossed over. Many intriguing elements are also introduced like the death of one of his gag writers, his unreleased film "Ten Girls Ago", his family becoming part of Buster's films, etc. But in most cases, these are only mentioned in passing and get little analysis or explanation.

But then, Buster Keaton Remembered isn't really meant to be a biography - this is more of a coffee table book. So if you're looking for a stunning pictorial of his life, this is the one to pick up. If you're looking for more detailed insights into the man and his movies, it's time to head for the library.

the photos are worth the price of admission, many i had not seen before as a long time fan of keaton. the text is clear, and not horribly sentimental, which i was afraid to find as the book was co-written by his last wife.

gorgeous. really well done.

I thoroughly enjoyed this book. Being a fan of Buster, I've read numerous bios, ranging from mediocre to all out hatchet jobs. Students of the "Great Stone Face" will learn a lot, I certainly did. The photographs alone are worth the price of the book, epsecially the "stills" from THE GENERAL, STEAMBOAT BILL JR. and ONE WEEK. Keaton always seems to take the proverbial "back-seat" to Chaplin, but Buster was the better comic, by FAR!!! And, as an added bonus, you can see how Buster and Eleanor made the "pork-pie hats" worn in so many of Keaton's films.