Dance Books

There is no other book like this. Or I should say the complete book about compositing. All you need to know and more.
I think for compositing work you only need to read two books this one and one from Ron Brinkmann. No need for anything else.

I really struggled through the first chapter, but after that is stared to make more sense. This book is very technical, and many topics like 10-bit logarithmic color are definitely complex concepts, but generally the author does an excellent job of explaining them as simply as possible.

Explanations for what is happening 'under the hood' of a lot of compositing tools are explained, as well as how to achieve them manually. Stuff like keying, despill, unsharp mask, and defocus operations. I've read the 2 other main compositing textbooks available on Amazon.com, I would say this is definitely better than "Digital Compositing In Depth", and slightly better than "The Art & Science of Digital Compositing". It's definitely the most detailed and technical of the 3 books.

I wouldn't recommend this for a beginner, it'd be more suited to someone who has composited for a few years and wants to better understand the underlying concepts of their compositing software.

I ordered two compositing books at once: this one and the classic textbook. I found that the other book was thorough but also did not cover that much more than I'd already learned online and through the manuals that came with my compositing program.

This book, however, went into a lot more specifics and I actually took one greenscreen despill recipe from the despill chapter and implemented it in the compositing program I use (Shake) and the results were fantastic. WAY better than what I had been getting with the built-in tools.

The book has a conversational tone and gives a lot of practical tips and recipes for compositing. The CD is a little light in content (basically the photos for the color plates in the book), but the book is still well worth getting if you're doing compositing. He uses a generic node notation for processing diagrams, so users of After Effects or other non-node-based compositing programs will have a tougher time.

If you consider yourself an upper intermediate level user or less, I'd recommend this book. Among many other things that it does quite well, it explains what procedural keyers like Primatte are doing and shows you how to accomplish the same kinds of processes manually. You will know what each of the many keyers in After Effects (and other compositing apps) are doing and the logic behind each. You will also learn where best to use each based on the situation at hand. It also takes you through many other areas like matte extraction, despill procedures and color correction. After reading it, you will understand scientifically what is going on under the hood of your favorite imaging and video apps. To me, this is the "Photoshop Channel Chops" of 2001. What David Biedny's legendary PCC book did for Photoshop artists a decade or so ago, this book will do for compositors today. I have seen other books handle this subject, some do it well but none as good as this one. Well-written and very easy to understand -- though there are definitely places where you will have to reread passages to understand what's being said. But if you commit to reading it with more than a cursory perusal, you'll walk away a master. Highly recommended. Five Cows.

Ron Lindeboom
creativecow.net

The author has done a great job of taking most if not all the tricks and tips and combined them into one excellent book.
Film and Video is completely explained and the reader gets a great idea why they are so completely different.
This book is an A+ must have for anyone wanting to know more about the compositing process.

Along with William Ball's superb A SENSE OF DIRECTION, Director and instructor John Ahart's THE DIRECTOR'S EYE stand as the finest book ever written about the art of directing.

Breaking down the mystery of directing into simple yet illuminating steps, Ahart takes great pains to celebrate the individual voice and the joy inherent in the art of the collaborative theatre.

Ahart stresses the importance of finding the artist's point of view and marrying it to the author's text in creating a staged performance. Carefull to discriminate between merely "staging" a play from "directing", Ahart lays out several activities and philosophies designed to create a safe and collaborative environment where the actors and the director (as well as designers and the rest of the production staff) work to create a unified production that can move an audience.

Ahart should actually have called the book, THE DIRECTOR'S HEART as he repeatedly stresses the importance of using the natural and personal experienceds that one brings to the creative table. He constantly (and rightfully) stresses that the creative process is NOT an intellectual excersise but rather one of passion. It is the intellect though that focuses and DIRECTS the passion towards a single, focuses point.

Written in an inspirational, approachable and helpful tone, THE DIRECTOR'S EYE is a must have for any director and actor.

John Ahart's The Director's Eye is a comprehensive text for directors and actors is intended for student audiences, but contains practical information which represents a half-century of experience in teaching and directing, containing over thirty chapters on everything from imparting the style and content of a play to the special challenges of comedy and other formats. A 'must' for aspiring directors.

The Director's Eye, announced as a comprehensive textbook for directors and actors, is that and so much more. John Ahart's creation is a book of rare breadth and depth. Broad in its application, in the very universality that is the theatre and life. Deep in its impact, in the way it takes us to the core of our experience and ourselves.

Emerging directors and actors will find Ahart's original and well thought-out approach to directing and acting invaluable as they prepare for, deepen their relationship with, and celebrate the works they engage. Gentle but purposeful instruction, ample provision for incremental practice, and reliance on the discrimination of the authentic audience, whether the audience of one or many, make this effort an extraordinary contribution to the field of theatre.

For those of us who find our vocation outside of theatre, The Director's Eye is an unexpected treasure. Pithy comments, artfully constructed analogies, and rare insights are found at every turn of the page. With grace and perceptiveness John Ahart writes about directing but teaches leadership.

The author himself signals the importance of this work beyond the world of the play. In the preface he tells us that learning to direct . . . "demands continuous learning about ways to nurture the evolution of a collectively created world." What is leadership if not the nurturing of "a collectively created world?"

The seven parts of the book each have a message for leaders. Part One helps us define the role of the leader and pay attention to what is important. Part Two emphasizes the value of preparing for the result we envision. Its six chapters help us enter the moment, harness the power of our mindset, appreciate the impact of words, find models to shape our action, build on the potential of our space, and enhance time through the potency of choice. Part Three invites us to let "the work" shape its own process and result. Part Four calls our assumptions into question and uses the tool of collaboration to unify our work. Part Five takes communication to a new level by recognizing the essential nature of deeply connected relationships. Part Six causes us to look anew at common resources and take advantage of what we have previously failed to notice. Finally, Part Seven helps us make sense of the whole. It warns us not to be defined by our resources. It inveigles us to stay true to our core purpose. It sets us free to pursue our own vision.

All of us, whether company CEO or leader in a more subtle arena, will find this book to be a friend on the leadership journey. It is filled with opportunities to help ourselves, our families, and our organizations find satisfying purpose in what we do together, create the culture we want to be a part of, and deliver what we choose at a level that pleases us and our "audience."

I've read Clurman and Brook but no text has the depth and breadth of John Ahart's "The Director's Eye". Look at how he advises directors and actors on the ways in which rehearsals become far more productive; the ways scenes become much more dynamic. I am especially impressed with Ahart's methods of rehearsing actors, how to balance structure with freedom, how to create an environment where the play "inevitably happens". This text offers ideas I've never seen anywhere else and not only does "The Director's Eye" present theory; it equally demonstrates how to impliment techniques of rehearsing actors, staging scenes, creating a working ensemble. People may think that they know these concepts; however, I strongly advocate reading this text. It will shake up many conventions that work against the immediate theatrical experience. Just one example is the way Ahart advises having actors memorize their lines - a seemingly banal task few have investigated. Ahart argues that it is often here that acting dies, in the methods actors use to retain their lines. The text is also a practical guidebook offering examples of directing such as working with comedy, scoring the play, creating rehearsal units, and progressing through rehearsals.

I plan to recommend "The Director's Eye" to every other teacher of directing and acting that I know!

This is one of those books that I keep coming back to, re-reading a passage or chapter, setting it down, and then coming back to it, again and again.

It isn't just for theatre directors; it's for actors in film, television, and theatre, and anyone else in the arts who longs to build meaning into their work.

As an actor in Hollywood, I can say that productions out here seem to get mired in the technical trappings--the lights, the camera angles, sightlines, continuity, cheating this out, coverage, blah blah. But where the hell is the connection between the actors? Between the director and the actor? Between the actor and himself? What is the dramatic action? And most of all, why the hell are we doing this, anyway? Does this mean anything to any of us? Where's the humanity in this piece? What's our personal connection to this material?

The messages in this book are universal and practical. Someone said when I moved to LA, "You need to find your voice." This book is the Start button.

This book was everything that we wanted it to be! My daughter is almost 6 and loves it. I bought it because she is interested in ballet and loves to dance, but we knew little about the stories of the famous ballets. This book was perfect for teaching her about five of the most famous ballets. I highly recommend this book & CD to others.

I bought the book to share with my younger ballet students. My 5-6 year olds loved sitting down for a short story time during ballet class. The story of The Nutcracker was divided into four logical sections, so for their last four classes before winter break I read one section each class.

The first time I introduced a little background of the ballet before reading. Each subsequent day we reviewed the characters, action and setting from the week prior before reading the next section. After reading about the Land of Sweets and the Sugar Plum Fairy (the last two sections) I had my students try to dance like their favorite candies of today, then we danced to the actual Sugar Plum Fairy music.

I was able to incorporate the story into my class easily, because it was divided so well already. One part of the story was on each two page spread, and my students loved looking at the illustrations and the photographs of actual dancers in costume.

I have listened to the CD component, but it only seems to have one track for each story, so it would have been difficult to use in my lesson plan. It does have the music for each section of the ballet in the background as Ms. Bussell is reading. The CD would be an excellent accompaniment for reading the book with a child at home, or listening to at home or in the car.

I will probably use the same format to share another of the five total ballet stories in the book with my students, and I will definitely repeat the Nutcracker lesson plan next Fall.

This is a perfect introduction for the young, serious balletstudent to THE classic ballets: The Sleeping Beauty, Giselle, Coppelia, Swan Lake and The Nutcracker. It tells the story(s) AS DANCED, an important difference for a student of dance. Ms. Bussell's personal comments and pictures ignite a young dancer's dreams of a professional career. My daughter just turned ten and the detail was appropriate for her reading and interest level. Although the read-along-feature makes it look like it's for younger readers, I think ten is the youngest age I'd recommend unless you have an EXCEPTIONAL reader who also LOVES ballet. This review is based on the book. I haven't had a chance to listen to the audio yet; it's available on cassette or CD. Amazon's price was the best...

I bought this for my 5yr old daughter who is taking ballet lessons. It is a charming informative book with wonderful photos and drawings. I think children older than 4-8(amazon's recommendation) would also enjoy this item.

This is a lovely little book with great pictures which has really helped my daughter learn moves and draw them. The stories are well written and it's great that a currently popular ballet dancer helped with it, not one retiring and probably never heard from again. I reccomend this book for people who like ballet and the stories, it a great book to read to children!

Shooting scripts, plus nice pictures plus episode commentary.

Very well put together.

This book is a great resource for the first series of new Doctor Who starring Christopher Ecclestone. It includes the shooting scripts for all 13 episodes so some scenes aired are in a different order or are shorter than in the script book but the scripts are essentially what was aired on screen. Each script is accompanied by a short editorial by the scriptwriter and excellent selection of photos from the aired episode. If you want to explore television script format or follow the script while watching your DVDs, this is the book for you. A must for Doctor Who fans!

Dr. Who is Forty (actually he's 900, but like the Doctor, the show had been around in one form or another since 1964). During March and through June the BBC celebrated by bringing the show back to television for its 27th season (or as it is more consistently called: SEASON ONE)in a glossy, fast-paced enough to satisfy contemporary audiences, while still conscious of its roots. This hardback book contains all 13 season one scripts for the 2005 rebirth of the longest running sci-fi series in TV history. Seven of these scripts are by Russell T. Davies, with the remaining 6 by Steven Moffat, Robert Shearman, Paul Cornell and Mark Gatiss. Each provides an insightful intro for their scripts revealing their inspirations and changes they had to make to bringing the stories to screen. These writers clearly have a respect and understanding of the UK icon, which evident in Davies' final remarks:

"There are some people in the TV industry who have asked archly, why I'm now writing genre, instead of drama. Obviously, they've never watch a single episode of Doctor Who. It's the best drama in the world."

Doctor Who has always has a voice defined by the decade each in tune with its era and this holds true to the new Doctor Who. This Doctor is almost child-like in his enthusiasm and wonder. Featuring the Doctor as played by Christopher Eccleston, infusing the character with great humanity, while remaining mysterious and alien, along with his companion Rose played by Billie Piper, growing from an awed slacker to a seasoned space adventurer. However, the format of the show has changed to 45 min. parts, some ending with cliffhangers, some without. It contains explanatory notes on the scriptwriting process, giving a unique insight into how the writers visualized their stories and OVER a THOUSAND PHOTOS from the 2005 season. This book has an attractive cover and interior graphics are nice. But MORE importantly the collection gives fans an insider's look at how the show works. But. EVEN more importantly, with the absence of the old Target Books episode by episode TV-tie-ins, this is the one of the few ways for AMERICAN fans see the NEW SERIES before the region 1 DVD release (watch AMAZON.CO.CA in February

The First story: "ROSE" introduces Rose Tyler who is attacked by mannequins (or AUTONS) in the department store where she works. She meets the Doctor and the pair end up fighting to save the world.

DOCTOR: Hello Rose Tyler, RUN FOR YOUR LIFE!

Next in "THE END of the WORLD" The Doctor offers Rose a chance to go anyplace, anytime, they end up in the 5 Billion years in the future above the Earth just before it ends. But someone has sabotaged observation satellite they're on. . . .Rose finds the aliens on board, so alien, she then asks the Doctor who he is...

DOCTOR: This is who I am, right here, RIGHT NOW! All that
counts is here and now and this is me!


In "THE UNQUIET DEAD" The DOCTOR and ROSE Travel back to see Charles Dickens, a ghostly apparition and an investigation leading to a undertaker's office where the dead keep getting out of their coffins. Once Dickens becomes involved and the Doctor gushes...

DOCTOR: Charles Dickens! You're Brilliant, you are!
Completely 100% brilliant! I've read'em all!....I'M YOUR
NUMBER ONE FAN, that's me!


In the "ALIENS of LONDON" The Doctor takes Rose home (mistakenly) 12 months later. We learn what happens back home when a companion up and leaves with the Doctor. The pair deal with Rose's Mum, who thought she was dead, and the ex-boyfriend who has been the main suspect. But when a spaceship crashes in the Thames, the whole world goes on Red Alert.
In "WORLD WAR III" the "Aliens of London" continues...

DOCTOR: This is why I travel, ... to see history happening, right in front of us.

In "DALEK" Beneath the Salt Plains of Utah, the billionaire collector Henry Van Statten holds the last relic of an alien race and the one living exhibit in the museum is a....you know what.

DOCTOR: An, Old enemy. The stuff of nightmares reduced to an exhibit. I'm getting old.


In "THE LONG GAME" the Doctor takes another new compainon to the far future...

DOCTOR: Thing is...time travel, it's like visiting Paris. You can't just read the guidebook, you've got to throw yourself into it, eat the food, use the wrong verbs, get charged double and end up kissing complete strangers, ... stop asking questions and do it!

In episode 8, FATHER'S DAY, The Doctor takes Rose back in time to meet her long-dead Father, but the Tylers finds themselves battling the Reapers.

DOCTOR: Your wish is my command. But be careful what you wish for...


In the 9th episode, THE EMPTY CHILD. Its London, 1941, the Blitz. A mysterious child terroises Homeless children in this 2 part storyline.The Empty Child story continues in The DOCTOR DANCES. The Child's plague is spreading throughout wartime London, and so is its zombie army. Spin-off character Capt. Jack Harkness is introduced...

ROSE: You used to be a Time Agent, now you're some kind
of freelancer.

JACK: That's a little harsh- I prefer to think of myself
as a criminal.

In episode 11, BOOM TOWN a plan to build a nuclear power station in Cardiff City disguises an alien plot to rip the world apart and a returning villain...

MARGARET: What did I ever do to you?

DOCTOR: You tried to kill me and destroy this entire planet.

MARGARET: Apart from that?


In the 12th episode, BAD WOLF, the Doctor, Rose and Captain Jack have to fight for their lives on board the Game Station, in the season finale, THE PARTING of the WAYS, Rose Tyler has seen danger and wonders alongside the Doctor, but now their friendship is put to the test and the Doctor says goodbye...sort of...
DOCTOR: ROSE...you were FANTASTIC. ABSOLUTELY FANTASTIC...and'd you know what? SO WAS I.

Doctor Who is back! Unfortunately, we will have to wait for the video version to be shown on our American television screens (or even released on Region 1 DVDs). But in the meantime we have this WONDERFUL book to see us through. All thirteen adventures of the Ninth Doctor Who are represented here in script form from "ROSE" to "THE PARTING OF THE WAYS" and each script is peppered with a generous serving of excellent photographs from the show to help the reader visualize what is going on.
The book is easy to read and well worth the price. If you are a Doctor Who fan, you can't afford to pass this little gem up.

A nicely presented book, but at the end of the day it's essentially just what you've already seen on the tv screen. However if you want to dip in and learn how to structure a script i'm sure it gives good information. It's interesting though to see how everything is put together.

This book explains or attempt to explain what happens between the preacher and the pulpit!

While a sermon is NOT supposed to be an entertainment, it IS supposed to rouse the listeners to faith, action, and hope. If your preaching is lacking, Dr. Smith has a LOT of help for you.

He is one of my favorite preachers, by a LONG shot. I listen to EVERY sermon he preaches that I can find. His sermons are absolutely LOADED with good theology (and I don't mean "purpose driven drivel")--- it is loaded with theology put to work!

Smith has a magical way with analogies, metaphors, and imagination that most of us don't quite get. I am convinced that PROPER creativity is CAUGHT as much as it is TAUGHT--- read this book and let Smith's logic and ingenuity sink in.

This book is intriguing and a good reference for anyone who speaks or teaches as part of a Christian ministry. Thumbs up!!

Every now and then you need to be made to feel uncomfortable. Perhaps there are few ways to make people fee more uncomfortable than to talk to them about them public speaking or dancing. Robert Smith attempts to combine both of these uncomfortable realities into a helpful metaphor for biblical preaching.

Robert Smith is professor of Christian preaching at Beeson Divinity School in Birmingham, Alabama. Prior to this, he was a professor at The Southern Baptist Theological Seminary in Louisville, Kentucky.

Right off the bat you have got to respect Smith's gutsy-ness to link the sacred act of preaching to a metaphor such as dancing. Remember, Smith is from a Baptist institution. I can't wait for his next book, perhaps Fermenting Truth: A Pastor's Guide to a Gloriously Intoxicating Ministry

Doctrine that Dances is primarily a book for preachers. Smith employs two main metaphors throughout.

The first is that the preacher is to be a `doxological dancer'. That is to say he is to be not just mentally engaged with the passage but also emotionally engaged. Smith warns against pastors spending time in the study of the word but neglecting their due time under the knife, in surgery, so to speak.

The second metaphor is that the preacher is to be an `exegetical escort'. He is to use the text to bring people into the presence of God. Here is a definition from Smith of such doctrinal preaching:

********

My definition of doctrinal preaching emphasizes its underlying aim: transformation through Christ. I state that doctrinal preaching is the escorting of the hearers into the presence of God for the purpose of transformation. I contend that the task of the doctrinal preacher is to serve as an escort who ushers the hearer into the presence of God through the proper and precise expounding of the Word of God. When this is done, the efforts of the doctrinal preachers have reached their limits because they cannot transform the hearer. The hearer is left in the presence of the only One who can transform a human soul--Christ.

********

Some may think that Smith is just being too cute with these metaphors and it is overkill. I'll be honest, I thought the same thing for the first 30 or so pages. But Smith pulls it off. He keeps emphasizing the metaphors and developing them within the context of pastoral ministry. When you finish the book I trust you'll agree that you have been served well by a man who wants to see God glorified and people transformed (including the preacher) by the faithful study and proclamation of the Word of God.

The book is written in a very engaging style. Smith is very culturally relevant (a good model for preachers) and writes with an eye toward the end goal (transformation). He also recognizes the negative stigma of doctrinal preaching, that it is boring. However, he doesn't flinch; his charge is for men to not make the glorious truth of Scripture boring but rather to be affected by this truth and then preach as a man who has been so affected.

I think Smith does a great job balancing the oft distorted poles of emotion and content. Too often men compromise one for the other and sadly the casualties are in the pews.

********
Smith writes:

The preachers are simultaneously exegetical escorts and doxological dancers as they respond respectively to the substance of the Word of God within a style that is unique to their own personality yet reflective of an enthusiastic and passionate delivery. Doctrinal preaching includes both the exegetical escorting of the hearer and the doxological dancing of the preacher as the preacher ushers the hearer into the presence of God for the purpose of transformation. The preacher, who prior to the preaching moment has been transformed and who dances in the delivery of the message, expects the hearers also to be doxologically responsive to the Word of God because to the transformative moment. The doxological response in the preaching and hearing of the Word of God does not enter the sermon in its conclusion; rather, it begins the sermon in its introduction and resounds throughout the message.
********

Throughout the book Smith quotes from people that I did not expect. I wonder as to why he would repeatedly quote Harry Emerson Fosdick, as well as Karl Barth, and St. Francis of Assisi. I did not find their quotes to add significant value to the point he was making and without a disclaimer would be concerned about folks embracing the rest of their teachings within such a context. This however, would not cause me to not recommend this book to preachers.

Finally, there is a continued reference to American slavery, African American preaching and the development of Christianity within the early African-American community. I had found this curious throughout the first 2/3 of the book until I realized the Smith himself was an African-American. This disclosure by Smith was helpful.

Smith has a wide potential readership, the Baptist community (both Reformed and Arminian), the African-American Community, and the rest of evangelicalism. Each area needs to be reminded of the call to preach the word faithfully and passionately for the glory of God and the transformation of people. May God be pleased to use it to this end.

Smith has introduced a work that will encourage, inspire, and educate preachers today who desire to be true to God's Word. Today, many pastor's preach to a crowd that is biblically illiterate. Smith explain how it is our responsibility to escort these listeners into God's presence through both the emotion and the mind. Doctrine that dances will help you see the Christ-centered need in your message and the need to preach hope in his second coming. Must read for any preacher today seeking to be both relevant and biblical.

This book is so crucial for any one playing Scarlatti sonatas.
There is so much detail, historical context, and yet the writing is such that even an amateur pianist like me can get a grasp on how to interpret the sonatas. There are some nice sections on how to approach them on the piano.

I wish I could find similar books for every other composer!

Ralph Kirkpatrick's 1953 work remains THE book on Domenico Scarlatti and his keyboard sonatas. There have been no substantial revisions in the biography of DS since 1953. Georgio Pestelli and many others have questioned Kirkpatrick on chronology, but when it comes to analysis of individual sonatas, Kirkpatrick is strong. Kirkpatrick was not a musicologist, so his book is actually interesting to read!

An indispensable reference for all those interested in one of the greatest keyboardists of all time. Kirkpatrick's work is one of real scholarship. Written in 1953, no one has since bested it.

This book is an indispensable reference for those studying the great composer Domenico Scarlatti.

The first 7 chapters are historical narratives without unusual merit except as an intoduction to the real book which is about music. There is a chapter on harpsichords. Kirkpatrick was not the first thinker on Scarlatti as evidenced by the extensive bibliography and appendix

He did establish the K identification number system which has stood the test of time at least in this country.

His real contribution is in identifying Scarlatti as a real musician writing music of extraordinary merit. His chapter on Scarlatti's harmony is very difficult reading.

The last chapter on "Performance of the Scarlatti Sonatas" should be read again and again by every musical teacher and student (he talks about tempo, rhythm, phrasing, articulation and attitudes).

Of course, one must have the sheet music on hand to see what it's all about, and a mind-set ready to accept Scarlatti into the company of Chopin and Liszt as well as Granados and Albéniz.

Kirkpatrick talks a little about the influence of Iberian song and dance forms on the sonatas of Scarlatti; a few others have scattered hints on this subject. I think the world would welcome a full-blown research here as a fitting sequel to this book.

A very heartwarming story about a hardworking and talented Irish-Catholic family. The travels and travails of the Burkes as they rehearse and perform across the country during the turbulant decade of the sixties against a background of racism and Vietnam, is a nonstop adventure for the reader also. The book brought back many memories for me personally as my family also traveled in the sixties in a 64 Chevy Belair wagon-but we only needed one! The story just goes to show how much has changed since that era. Or has it? An outstanding story-Highly recommended.

The Burke family brought many childhood memories of my own past. This family represented everything good in America at a time when our country was experiencing issues of racial hatred, turmoil and unrest. I was fortunate to attend the same Catholic school and parish as this wonderful family and remember the Christmas shows on local televison. I recommend this book be read by all families to show the love, devotion and moral values instilled in this family as an inspiration to all!!!

The Burke singers lived my fantasy. I too am from a large Catholic family who grew up in the fifties and sixties and the relationships of the siblings in the book and the antics of the little brothers brought back so many childhood memories for me. My elderly mother has been mute for several years due to a stroke, but she was able to communicate her pleasure in reading the book and seemed to like it better than any others she has read. This book could be read and shared by children, parents and grandparents in a family. The story is told with humor and affection and it was just too bad the trip had to end. Don't think it hasn't been fun... Because it HAS!

This book shows that truth is easily as fascinating as fiction. The Burke family's exploits would be beyond belief if there weren't so much proof they actually happened. This book made us laugh and cry while we returned to a decade when America's innocence was unpeeled in the face of racial oppression, assassinations, and the agony of going to war on foreign soil. Seen through the eyes of a child innocently traveling the country singing with her family, and laced with the family dynamics of ten children on the road, Burke's book left us stunned, warmed, and thinking deeply about our country today. If you're looking for a book that leaves you filled up, read this.

When my grandmother was alive she made fudge. It was so rich, you couldn't eat it. You had to sort of scrape little bits off with your teeth - if you took a full bite you'd probably die, it was so rich and sweet and wonderful.

I've been reading this book rather like eating Nana's fudge. I don't want it to end, so I'm doing little bits at a time. When I first started I read something like the first five chapters without taking a breath. Now I'm rationing.

Wonderful. Just wonderful. I'm 57 years old, so this is my time, the shows they appeared on, I watched. When I get back to NY I am going to go the Museum of Broadcasting and watch tapes.

The only thing that could make reading this book better would be playing the tape of the Burke Family SIngers doing Christmas carols in the background.

Now if I only had some fudge....

Of all the reference books for writers, I find the Dramatists Sourcebook to be the most complete. It doesn't have EVERYTHING, but it can tell you where to FIND everything.

Sources for production, contests, funding are updated each year (a couple of quibbles...I found one deadline date that was off last year), as well as useful service organizations for playwrights, and for those who haven't realized that a play is not a screnplay, always a lesson on formatting.

The Theater Communications Group puts out a lot of useful publications, but this one is at the top of my list.

Of all the reference books for writers, I find the Dramatists Sourcebook to be the most complete. It doesn't have EVERYTHING, but it can tell you where to FIND everything.

Sources for production, contests, funding are updated each year (a couple of quibbles...I found one deadline date that was off last year), as well as useful service organizations for playwrights, and for those who haven't realized that a play is not a screnplay, always a lesson on formatting.

The Theater Communications Group puts out a lot of useful publications, but this one is at the top of my list.

The title of this book is completely appropriate, though Dramtists Bible would also work. Every contest, every writers colony, every major theater company in America is to be found within these pages. It is perfectly mapped out and the details are wonderfully woven. I recommend this to the beginner playwright as well as the Tony winner. Bravo.

The Dramatists' Sourcebook is truly an invaluable resourse for anyone who writes for theatre. Hundreds and hundreds of entries for production, development, awards, and much more make this one of the most important books in my library. I highly recommend it for all playwrights, lyricists, and librettists.

This book is simply a must-have for anyone seeking the life of the working playwright. It's succinct, informative, and offers a wealth of information on grants, theatres, contests, and other opportunities.

My one minor complaint would be that the Sourcebook lacks almost any real information on proper play submission formatting (despite the fact that the book touts this assistance heavily on its covers).

As most theatres routinely point writers in the direction of the Sourcebook to answer such questions, it's a disappointment to find that the Sourcebook's _entire_ section on formatting consists of: one line of sample dialogue, followed by a somewhat confusing short paragraph which verbally describes formatting in vague terms as being essentially the same as those for screenplays -- and that's it. As I've been misled before on preferred formats for play (versus screenplay) submissions, a single sample page would have been an invaluable help.

But that's just one small complaint. And as a reference and information source, the Sourcebook is still a must-buy.

Hardly a stone is left unturned in this look into the early development of jazz. It provides a thorough introduction to a wide range of subjects and artists, carefully reviewing each of numerous recordings.

This is not a biographical account of the lives of the early jazz artists, but is an analysis of the styles and development. From the deep south and the roots of the music, into the Midwest and Southwestern styles, the author is thorough and careful in his look.

Much more than an introduction, this certainly would be suitable for a college course in jazz development.

the author gunther does a magnifent job of affording a history of the evolution of jazz, this in a most scholarly fashion. thus making at times somewhat academic effecting a use of words whose understanding may be elusive to the ordinary reader.

I can't believe that no-one has reviewed this wonderful book until now. It is one of the cornerstones of jazz criticism, and the first one not written by one of these annoying pipe-smoking, foot-tapping listeners you always notice sitting at tables beside the bandstand at jazzclubs, but by a very fine musician who has actually been 'one of the cats'. O.K., he is a French horn-player, but jazz buffs who are 'in the know' with the work of Julius Watkins and John Graas won't mind. But seriously: His chapters on Armstrong, Jelly Roll Morton (some thirty years before the Dirty Dozen Brass Band decided to dedicate a whole CD to the music of this first truly 'jazz composer'), but especially Fletcher Henderson and Duke Ellington will enlighten everyone who is looking for a critical assesment of the music and is tired of the endless re-telling of the phoney 'romantic' stories surrounding this music. And for the people who think they know about everything: One chapter is enirely dedicated to what is known as 'territory' bands, the bands that only played their home town and the region around it. Many a gem of inspired music can be unearthed in this chapter. P.S. O.K., I'm biased. Mr. Schuller autographed my hardcover copy of the book when he was conducting the Dutch Radio Symphony Orchestra, and I gatecrashed at a rehearsal.

Jazz criticism tends to run in two groups: one, the biographical/anecdotal (often marvelous to read), and two, word pictures of how the music made the writer feel (often awful to read). Gunther Schuller's "Early Jazz" does what any undergraduate musicology major would do: examine the music note by note, and explain what's going on. While this is not an easy book to read for people like me who have no musical training (or talent, for that matter), it is an absolutely essential book nonetheless. Schuller goes through each major musician and movement of the twenties, and shows exactly what is occurring. What worked best for me was to have the recording he was discussing playing while I read, so I could hear what he was talking about. Anybody in love with the early music of Armstrong or Ellington needs to tackle this book sooner or later.

You can argue with Schuller, and in fact, that's half the fun. He's not always right, but he's always interesting. If you're listening to early jazz and an unfamiliar band comes on, you'll be unable to resist looking them up in this book, so put the book next to the radio.

I heard about this book from a friend and thought it sounded pretty awesome. My friend was right! I don't usually god stuff, or poetry, but this was fun reading from the start. Makes me think and I like that. It's especially appropriate for the season, too. You won't regret reading it. Promise!

Though I am not a very religious person, I really enjoyed this bok for its fresh new perspective I would recommend this book to religious, non religios and people of non christian religions for a refreshing new look at GOD a.k.a. the boss

Those who consider religion/spirituality an important part of their lives would be well advised to read this book. It's short, but it says a lot, and is quite thought-provoking.

if you are searching for god, this is a great place to start, with many of the same questions you may have. Wonderful thoughts.

Eden In Limbo is a spiritual fantasy novel combining poetry with storytelling. God has taken a male human form; his female partner in the spirit world being silent to all but him. Like most men, he wants to learn to communicate better. As a God of the new century, he wants open communication with every person. In pursuit of this goal we are introduced an American Indian, a questioning Christian, a devout Christian and her wheelchair-bound friend, a Hindi couple, a homosexual couple, a French model, and a group of outspoken black women -- all seeking to better understand themselves in relation to God. Eden In Limbo is a recommended work of quixotic imagination and an engaging "what if" speculative fiction.,