Arts and Culture Books

This book is an excellant companion piece for all Remington Steele aficionados. Compelling and difficult to put down once started, it is a must own.

"Steele Loved" is a comprehensive look at a great television show of the 1980's. It is obvious that the author is a dedicated fan who accurately described the experiences of all those involved with the making of Remington Steele. Readers will especially enjoy the unique creativity in which the episode guide is presented.

"Steele Loved" is an excellent reference book and a keepsake for all true fans of this wonderful series.

Just when you thought it couldn't get better... last year, my favorite TV show came out on DVD and then came this fabulous book! This book is a must for any "Remington Steele" fan. It's full of fun facts and information, and was clearly a labor of love... definitely a classy companion piece to a classy TV Show.

Try this for a deep, dark secret...The greatest detective show ever, Remington Steele? It's just been immortalized in a wonderful new book by Judith Moose entitled "Steele Loved After All These Years". This 764 page book (no, I'm not kidding) is a "must have" for all Steele aficionados. It's a wonderful collector's item filled with fun facts, great quotes and a ton of pictures. Want to find out about the original concept of the series and how it progressed and developed into the show we all know and love? It's in the book. Curious as to how Pierce Brosnan and Stephanie Zimbalist were cast as the enigmatic Mr. Steele and unflappable Laura Holt? Yep, it's in there. Want to see the script for the pilot episode? It's there, too. Want to know what Pierce thought the fifth season should have been like? Uh-huh...In there! Want to hear about all the squabbles amid the cast and crew? Sorry...It's not that kind of book. (Thank goodness!)

So, what are you waiting for?! Buy this book...Kick back...Relax...And re-live a very special show in a whole new way. It's guaranteed to put a smile on your face.

This is a must have for all Remington Steele fans. It's full of cast comments and photos that bring the whole series alive again. So many new tidbits and reviews written lovingly by the author and die hard fans fill the pages. I couldn't put it down and I was just as sad when it ended as when the series went off the air. It's further testimony to the durability of the show.

SO i picked up this book to compliment my ever growing coffe table collection and I have to say... its alright. Now this one is strictly from Austrauila. there are other artist who have visited the country... but mainly home town heroes. You can't really go wrong with a stencil art book, but this one has nice pictures and a good, over-all look to the book. Just pick it up... you'll like it.

And by the INFAMY DVD, awesome graff video.

Very good book, very good text copy. Reevo from [...] has already wrote a full review down below, I just want to add to his words, that if there would be a time, when you won't find any street art around you, no "voices" of the people, it's probably a good time to reread Orwell's 1984.

and this book does a pretty good job of covering the city's heavy-hitters, as well as documenting plenty of smaller and anonymous works. if you've followed stencil art in the past few years at all, you'll recognize some pieces, as well as some artists' names (meggs, meek, and sixten to name a few).
there are bios and interviews, and the artwork is divided up into themed sections. all of the photos are color, too, which is a nice bonus many other books on this subject seem to be lacking.
at nearly 160 pages, and being hardcover, it's well worth the money.

I've been a little obsessed with Melbourne's street art scene for quite a while; actually, since the day I discovered Melbourne Mark's (that's how I think of him!) State Of Flux; a great site dedicated to the art in and around Melbourne (in case you hadn't guessed that already!). From then on I've been glued to that site and always enjoyed seeing all the new art as it was documented. I'm waffling...when I saw a while back that Stencil Graffiti Capital: Melbourne, by Jake Smallman & Carl Nyman, and published by Mark Batty, was coming out in the UK I was pretty excited and it's been well worth the wait.

Just like the other Mark Batty books I own, Stencil Graffiti Capital: Melbourne is quality from the start. It's nicely bound and instantly demands your attention from the second you lift over the front cover. Before you even get to the actual stencil documentation you're pounced on by a couple of incredible night-time photography of city streets and their painters. These are not in-your-face trophy photos of writers and painter posing next to their pieces but beautifully artistic long-exposure shots where the city is the star and the writer is part of the environment. It's a great way to make you realise that this book isn't just about the art but more to do with how the art and Melbourne interact with one another. The introduction follows and tells us more about Melbourne's unique stencil history.

Stencil Graffiti Capital: Melbourne is packed with themed chapters and artist profiles as well as being interspersed with the same high standard photography. That's not to say that the other photography in the book isn't worth mentioning though; it is. While many of the photos are documentary style (just showing the actual piece of art) there's a whole lot more that are just oozing class. Actually, it has some of the best street art photos I've seen. I digress.

So, back to the themes...roughly half of the chapters are theme based. The themes include faces, politics, war, robots, music, horror (a great couple of pages), guns and lots more. One of the most impressive themed chapters concerns itself with public galleries; lanes where, although illegal, artists are constantly putting up new pieces. By the look of the photos these streets are not just painted with the odd stencil here and there but quite densely populated with work, making them truly like gallery spaces. Many of the pieces are single layered hits but there are also some multi-layered beauties. A great collection.
Of the many artists that have there own chapters I have to mention Meggs. His art makes perhaps the best chapter in the book with his cute, skyward looking, kids with devils horns. Fantastic imagery. He also has some cracking pieces that depict people throwing up some kind of crazy paisley pattern...nuts. Vexta also gets a mention here for not only having a great collection of pieces on show but also for having the second best photo in the book; an action shot of her hanging half way down a wall, in mountain climbing kit, painting the amazing police piece. Sixten's chapter is also great, especially his work in progress, and his finalised Call It Popart One More Time And I'll... piece. Sync also needs a mention as his screaming pieces had a real impact on me when I saw a couple of his pieces in NYC last year. Banksy also gets an honorary mention for hitting the place during a detour visit in 2003. Apparently he made such an impact with the pure quantity of pieces that he deserved the chapter that's dedicated to him. Last mention has to go to Rone, who gets the title for greatest photo in the book! It's a four-layer stencil of a guy high up in the air, maybe four of five metres high. It's perfectly placed and traverses different types of textures across the wall. Just like all the great street art photos that have been taken, this one becomes complete with some personal interaction. This time it's with the addition of someone throwing a skate deck in the air and making it look like the character in the stencil has been caught mid-trick. Fantastico! It's a shame not to mention all the other great artists included in the book but I've probably already said too much...this is the kind of thing you should discover yourself.

I can't really claim to know much about Melbourne but Stencil Graffiti Capital: Melbourne gives me the impression of it having a rich, and dense, tapestry of street art...perhaps more so than anywhere else I can think of (I'm willing to be put right on this one but that's the impression I get from the book). I remember writing that Melbourne looks like a colourful place to live. Seeing this book has made my image of Melbourne much more intensely saturated with colour and dynamic imagery, I just hope I can get over there to visit some day. Like all great books, Stencil Graffiti Capital: Melbourne has made me want to know more about both Melbourne and it's rich streetart scene. I'll definitely be going back over all the photos at State Of Flux now that I have some solid reference material...I need to see more from these artists.

What has happened to turn Melbourne into a stencilled graffiti capital? When did this happen and who is responsible? Furthermore, why stencils? Isn't the use of stencils a bit of a cheat? Stencil Graffiti Capital answers all these questions and more with a visual celebration for several artists and the themes which dominate their work. Interviews with the likes of Civilian, Dlux, and Ha-Ha illustrate how and why these artists live in, moved to, or visit Melbourne to practice their street art. Full-page and double-spread visual treatments within the book illustrate the artists' basic themes, which focus on politics, symbols, love/sex and war/death.

According to the authors, Jake Smallman and Carl Nyman, the new trend toward stencilled work in Melbourne began in 1999 when graffiti artist Psalm tickled Melbourne's walls with "intricately detailed, vibrantly colored and visually arresting" work. His work was followed by Ha Ha's roughly cut, one-layer stencils which usually were painted in black. Syn and Dlux moved their graffiti skills to Melbourne from Adelaide in 2002, and they brought with them an influence which bonded the disparate talents already in residence.

Commercialism of street art, especially stencilled work, is contentious and Stencil Graffiti Capital addresses these issues. The use of stencils instead of free-form spraying, in my opinion, is no worse than the fact that Norman Rockwell used slides projected onto his canvases to help render his realistic paintings. His practice - once discovered by the art world - evolved into a debate over the difference between commercial work and fine art during the mid-twentieth century; however, this debate fizzled once technology altered how artists rendered their work...it's difficult for a fine artist to criticize commercial work when he uses computers to render his digital images.

The debates over legality/commercialism of stencilled street art might fizzle or continue to build, which is one of the interesting aspects to this movement. The other highlight includes the fact that these stencilled works aren't amateurish. Not surprisingly, the majority of street artists included in this book have graphic design or fine art backgrounds, an aspect that lends sophistication to the work. This background also supplies an understanding to the transition from the street to galleries. If this debate boils down to the fact that the "medium is the message," then street art is, perhaps, a marketing ploy for what is considered a new art form.

The fact that the street artists sign their work, that they are willing to be photographed in the process of building their work, that there is a Web site devoted to the who, what, when, where, how, and why of stencilled street art all lend credence to the fact that Melbourne's streets have become visual marketing for these artists. While this fact might leave a bitter taste in the mouth of some artists and officials, the mere idea that a metropolis could be influenced by street artists to the point that illegal activities are basically overlooked - at least for the moment - seems to be the real revolution.

While Stencil Graffiti Capital: Melbourne could be seen as part and parcel of this trend in commercialization of graffiti art and artists, the book is needed to explain this trend and Melbourne's part in an artistic evolution. Additionally, the book becomes a visual record of a trend which waxes and wanes with politics and artistic whims. The writing is succinct, clear, and sticks to the facts. The writers and editors forged categories for the artwork, an idea that refuses to glorify any one artist and which offers the reader a banquet of styles and canvases used by the artists. The only missing information in this book is the actual dimensions of the artwork, although the photographs at times reveal the size in proportion to buildings and individuals.

This book will appeal not only to artists, art lovers, and political guerrillas; it could add a significant contribution to any anthropologist's or historian's bookshelf as it addresses issues about the intent, talent, time, and politics which continue to influence every aspect of what is often considered illegal public property defacement.

This book was a great help in writing an essay for college, I would recommend this book to anyone who is interested in the history of tattoos.

While I can not even come close to the great review that the previous reviewer wrote, I can in fact tell you that this is one of the most interesting books that I have read on the history of tattoos. I myself have 3 tattoos and since I got them, I have been enthralled with the history that surrounds them as well as trying to figure out where the stigma that is currently attached to them came from. I sat down to just leaf through this book and I had to read the entire thing, it was so completely interesting. If you have any interest in tattooing at all, this is a must read!

Not just a compendium of illustrations, this collection of essays, interviews, historical accounts and yes, some nice pictures, pulls together a great deal of the cultural history and tradition associated with tattooing. Well written, very wide-reaching and very entertaining. Gilbert is careful to detail where all his information comes from, adding to the work's authority and allowing interested readers to look more deeply into specific topics. This is a winner.

Were you a fan of tattoing who had been stranded on that proverbial desert isle and allowed only half dozen favorite musical discs and but one or two books, it's a good bet that you would want Steve Gilbert's "Tattoo History: A Source Book" to keep you company.

A somewhat uneven quality of writing and of academic documentation mark this book. Even so, "Tattoo History: A Source Book" is an impressive work that reflects serious research, and it is a tour de force in comfortably handling material that ranges widely over time and space. On a subject that is so often dominated by photographs and essays that emphasize above all Japanese-style tattooing, it is a delight to learn as well of the long tradition of tattooing in the Pacific Isles, of the role tattoos played in the ancient Middle East, and of early 20th-century tattooing in the West. Gilbert's extensive use of source material--efectively translated from many languages--lends the book its gravitas and contributes significantly to his success in instilling in the reader an increased sense of respect for the tattoo arts.

Finally I should note that even if this book did not open new vistas for the reader, the essays which bookend "Tattoo History" would alone be worth the price of admission. Gilbert's opener, "Confessions of a Tattoo Addict," although but two pages in length, is an evocative essay that relates a fascination with tattoos to his coming of age in the 1940s. Meanwhile, the lengthier closing essay by Don Ed Hardy documents the resurgence of tattooing over the past several decades, the cultural cross-fertilization that has occurred, and the slow but growing acceptance of tattooing as a legitimate art form by the more conventional arts world.

As an archaeologist and a tattoo enthusiast, this is one of my all time favorite books on tattoos. I had been a fan of the web site version for some time and was glad to see that the book was so beautifully designed. But design aside, this is a "history book" that is unique in that it is NOT a narrative description of tattoos through the ages. Instead, it is exactly what it says on the cover -- a source book. Original source material, invaluable to researchers, is presented undiluted, in long quotations, with original illustrations. If you're looking for a plethora of modern tattoo designs that you can take to the shop on your next visit, look elsewhere. If you want to know about early tattooing all around the globe, then look no further.

Only Norman Rockwell is in the same league with Frank Frazetta. He is the most talented fantasy illustrator of his generation, no one else comes close. His work easily qualitfies as Fine Art. His draftsmanship is so good it seems beyond human, like Michaelangelo. His sense of drama is so assured, each image is like something out of a classic movie or great legend. But everyone falls all over themselves praising Frazetta. This is the third book of his work, and is more for hardcore fans and collectors. Icon and Legacy contain his most famous works, but I love this one for the insights it gives into his techniques, and for the many sensitive and exquisite watercolor nudes he gave his wife on birthdays and anniversaries. I've seen the guy in person twice in my life, but I never said a word to him. Still, Frazetta has made me a better artist.

frank frazetta is an outstanding artist. i own this book and the entire death dealer series by james silke, whose cover is frazetta's death dealer. he is one of two of my favorite artist (the other is none other than todd lockwood). his life story is also amazing. this is a must have book for any beginners in art or just to pick up and thumb through. definitely buy this book

Frank Frazetta is not only the master of Fantasy art but one of the true fathers of todays artist (Vallejo, Mcfarlane, Hildebrant) his body of work has ranged from the early comic strips of the 50's , to the great interpretation of Fantasy heroes greatest, Tarzan, Conan, Kane and many others, but he has also created some of the most memorable images of the 20th century Sci-Fi and Fantsy art(Deathdealer and so on). This bookk ends a wonderful trilogy that started with Icon, and was followed by Legacy, those previous volumes introduced many to the great worlds depicted in Frazetta's paintings, this book is a treasure chest of less known but just as great works. True longtime fans of this great master will relish this additions to the already establish body of work. I urge all fans of the master to also visit his museum in Stroudsburg PA to view the original paintins in all their greatness.

This is a beautiful book, but the more famous Frazetta works are to be found in the two previous books of this trilogy. So this book is great for serious Frazetta fans, but "Icon" and "Legacy" are better books for showing the most famous of his works.

This book, "Testament," is good for showing more of his unpublished stuff. It has many Playboy-type girlie paintings and drawings, some western themes, and his paintings for TV Guide, for the "Battlestar Galactica" show, (which look nothing like the actual TV program, but stand as terrific space fantasy works). The personal photos are also a very nice insight into his life.

All three books in this trilogy cover work from his whole life, and explain his career moves, with slight variations and different guest commentary. The printing is nicely done, so you can enjoy studying the paintings on glossy, quality paper. These three books are very nice additions to your personal bookshelf library.

If you're new to Frazetta's work, I would just suggest that you start in order, with "Icon," and then "Legacy," where the more popular works are printed, to be able to appreciate and understand Frazetta's work and influence in proper perspective. "Testament" is more for the confirmed Frazetta fans.

Only Norman Rockwell is in the same league with Frank Frazetta. He is the most talented fantasy illustrator of his generation, no one else comes close. His work easily qualitfies as Fine Art. His draftsmanship is so good it seems beyond human, like Michaelangelo. His sense of drama is so assured, each image is like something out of a classic movie or great legend. But everyone falls all over themselves praising Frazetta. This is the third book of his work, and is more for hardcore fans and collectors. Icon and Legacy contain his most famous works, but I love this one for the insights it gives into his techniques, and for the many sensitive and exquisite watercolor nudes he gave his wife on birthdays and anniversaries. I've seen the guy in person twice in my life, but I never said a word to him. Still, Frazetta has made me a better artist.

If you enjoy That Girl you will enjoy reading this book. It has the making of the show and lists all the shows in order. It is interesting to see which tv unknows were guest stars on this show. It also tells you who got to say That Girl in each show. It talks about the show came about. It is a nice companion to have along with the DVD set.

I have to say I was very impressed with this book wonderfully written and assembled by Stephen Cole. It was recommended by a friend and I was pleasantly surprised with the care that was put into what should be called the "Official" book on THAT GIRL. This is perhaps the BEST book written on a classic television sitcom! There is something here for everyone. If you are even slightly interested in reading about the series and Marlo Thomas, I suggest you pick it up. Well done Stephen!

I remember watching Marlo Thomas's entertaining sit-com in the late 60s and early 70s and thoroughly enjoying the trials and tribulations of a young struggling actress trying to make it big in the big apple. Being re-acquainted with this delightful series via cable has made it all the more enjoybale and pertinent in the themes explored and in the witty, challenging and humorous encounters an independent woman can face. Stephen Cole has added enormously to an appreciation of this ground breaking show through great research (interviews with Thomas and the writers) as well as providing an episode-by-episode guide to what made each show so special. You will find in this book references to the time, the fashion and the special chemistry between the leads in what is one of my all time favourite television shows...Thanks, Stephen for the love that shines through every page.

While many observers debate the origins of feminism on television, I believe that "That Girl" was the FIRST show of its kind; to portray a single career woman defying convention and starting out on her own. Strip away the humour from this show and you see the predecessor of many of the supposed ground breaking feminist tv shows of the 60's and 70's!

Mr Cole has done an OUTSTANDING job in assembling the history of this show and while recognising the show's clever scripting and acting, draws attention to the groundbreaking issues it tackled for its time. Selected quotes from Gloria Steinman and from Marlo Thomas herself verify the credibilty of his research.

Having said that, don't let me make you think this book is necessarily a feminist manisfesto for the new millenium. It's a funny, clever and insightful companion for anyone who ever loved the show and I found myself laughing out loud as I fondly remembered moments in a show that I grew up with but have never forgotten! Well done to the author: his love of the show and its characters comes through on every page!

Well worth a read!!!

Before Mary had bad parties, before Lucy Carmicheal and Viv had their screw-ball adventures, before Janet and Chrissy stood up to Jack. And before Blanche, Rose, Dorothy and Sophia toughed it out through old age and countless dates; there was "That Girl."

Lovable Ann Marie, her nerdy yet very strong (he always seems to be punching other guys out on a count of a misunderstanding) boy friend Donald, and her worried parents are all characters in "That Girl". Ann is a girl, living on her own in NYC for the very first time. She is a struggling actress who is smart, talented, witty and determined...yet she still manages to have the poise and serenity of Samantha Stevens (when all is well on Morning Glory circle, of course).

"That" is where "this" book comes in, it was very informative in all aspects of the history of "That Girl". It went into such detail as original names of characters and original actors..etc. Marlo Thomas really seems to be a true rolemodel, she was strong, independent, and still managed to keep her poise. The actors/producers were interviewed honestly and well. A true monument to the history of TV, and one of its most ground-breaking shows.

Tragic Kingdom: The Art of Camille Rose Garcia is the most beautiful art book I've seen in a long time. Not only are her paintings amazing, but every ten or fifteen pages are pages that look like thicker tracing paper with sketches on them. I love the art in this book so much that I got one of the owls tattooed on my arm. Camille Rose Garcia is one of my favorite artists, and if you like her art or want to see something new check out this book.

Oh hell, this girl rocks a lot, Camille is just so deep in her art, it is so beautifull, i wish i could go to a museum with her exposition some day! Her art is simply superb, the world she created is amazing. Great book. One of my favorites.

Wow! Someone was in the mood to show off when this book was being put together. I love the sketches that are included on the translucent pages. But why oh why do so many of my books from Amazon look as if they have been tumbled in a clothes dryer for an hour or so before they get to my door? This one has a slit across the back cover. Looks like it has been in a knife fight. As soon as this book goes out of print it will skyrocket in price. Not only is the artist's work beautifully reproduced but the book design and execution are superb.

The essays are hit or miss (yes, I read the text). Carlo McCormick's contribution is fascinating, as always.

This book is absolutely beautiful. I bought it for my daughter, as one of her birthday gifts and she loved it. It was delivered still wrapped in original shrink-wrap so it stayed protected. The book itself is well made, with nice thick paper and several pages done in heavy vellum. I am considering buying a copy for myself. I really enjoyed finding out more about the artist (in the back of the book) too. She is a true talent!

This book is a delight to have! I am broke now but I don't care because CRG work is inspiring and visually invigorating. I believe though, you really have to see her work in person to get the full experience! I can't wait to see where she goes in the art world.

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

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

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

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

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

I have read many books on this topic, and this is the most thorough (BY FAR!!) and definitely the most interesting. It tackles the subject from a million different angles, and I couldn't breeze through it in an evening (like I can with most books).

Five stars!

I thought this book was so much fun and quite handy!

I especially thought the pop quiz section was a lot of fun. I've already played with my girlfriends. And I love the "chick flick" recommendations...I would have thought I had seen all "chick flick" films, but boy was I wrong! I better get my butt to Blockbuster....Happy renting Gals!

i think the best part about this book is that it has movies for everyone cuz usually it's just like for people who are older and stuff. why don't more books have stuff for people who aren't like a million years old and things that's why this book is cool because it has movies for people who like weren't born in the 70's. what's up? this book rocks.

Word on the street is that "The Ultimate Guide to Chick Flicks" is a worthy companion to Ms. Adelman's other critically acclaimed books. I was very pleased to have this exhaustively rearched book handy when looking for movies to add to Netflix. I will not have to suffer through another bad Ashley Judd film...thank you Kim!

What's a chick flick? If I have to explain, this book is NOT for you. Most women know intuitively what they think makes a "chick flick," but after reading this Guide, they will understand what elements make up the best chick flicks; the ones we gush to girlfriends, "You have just got to see!"

American's movie sweetheart (someone women will love as much as men do) today is Julia Roberts, with Meg Ryan and Sandra Bullock close behind. Can we think of Meg Ryan without remembering the scene in "When Sally Met Harry." We ALL wanted what she was having.

Did you join millions of women who bought a polka-dot dress after seeing a bad girl become a fashion plate in "Pretty Woman"? You get the idea. We buy into these heroines, what they wear and how they treat men (and are treated by men).

I loved these subtitles under How to Create the Perfects Romance.
1. Create a sympathetic heroine.
2. Offer up a love-worthy hero (we know, the Tom Hanks type).
3. Don't forget the best friend.
4. Something is wrong with the heroine type.
5. They meet.
6. Toss in impediment to the romance.
7. They dance.
8. Memorable moment (like Angela Bassett torching her wandering husband's car in "Waiting to Exhale." You go girl!).
9. The hero employs the three magic words.
10. Achieve the ultimate happy (or unhappy ending).

I highly recommend this book as fodder for girlfriend conversation over a fudge brownie sundae. It made me check out my video (yes, video) supply. There I found almost every one of the often-watched movies mentioned in the book. Am I into chick flicks, or what?

If your 'bag' is classic horror films of the thirties and forties, especially Universal films, this book is a must-have. To many baby boomers that saw these movies when they were released for television in the fifties, this book will bring back a lot of memories. The book is great, but like all McFarland books, it is pricey. But for the true fan (which is short for fanatic) the price won't matter!

An amazing source of information for anyone who ever stayed up watching the late late show on a Saturday night. I am truly impressed at the thorough research that went into this book; many factoids which have escaped even the most die-hard of fans will be brought to light. I commend McFarland Press for providing fans of such an "un-hip" genre with consistently fine sources of in-depth information, especially keeping in mind that with each passing year the facts directly from those who were there are getting more and more difficult to find. This book probably does not hold a lot of interest for anyone who does not hold a special place in their heart for the studios' genre work prior to buying the book, and the authors do tend to often drift into becoming overly opinionated and putting much too much thought into subject matter that was never intended to be overanalyzed. Nonetheless, this is still an extremely fun read for any fan.

This book has it all for the serious student of classic horror films. Choose from a wide selection of bios, cast lists, plot summaries, anectdotes and more compiled by these mavens of the genre, Messrs. Brunas and Weaver. Thrill as they explore the nooks and crannies of the House That Universal Built. This comprehensive work is obviously the result of exhaustive hands-on research and deserves an honored spot in every true horror fan's library.

If your 'bag' is classic horror films of the thirties and forties, especially Universal films, this book is a must-have. To many baby boomers that saw these movies when they were released for television in the fifties, this book will bring back a lot of memories. The book is great, but like all McFarland books, it is pricey. But for the true fan (which is short for fanatic) the price won't matter!

The classic horror films of the 30's and 40's have never been as popular as they are today. Baby Boomers who grew up watching the old Shock Theater packages in the 50's and 60's hold a tremendous fondness for the films that terrified them as children. The Boris Karloff Frankenstein and Bela Lugosi Dracula are still the most recognized images of those two classic monsters...so much so that their families had to move to legally trademark their images to protect them.

The Universal horror films are the subject of Universal Horrors, the second edition of this outstanding book by noted classic film historian Tom Weaver and Michael & John Brunas. Throughout the massive 608 page hardcover, the authors cover each one of the 85 horror films made by Universal from 1931 - 1946. Just do the math...that's an average of about seven pages spent on each film during this period. This is no mere listing of actors with a one-page synopsis. Rather this is a definitive guide to these 85 films with complete cast and credits, detailed storyline synopses, production history, behind-the-scenes information, critical analysis, period reviews, and commentary by cast and crewmembers. Most of the comments come from the voluminous numbers of reviews that Weaver has conducted over the years.

The films are listed chronologically beginning with Dracula in 1931 and ending with The Brute Man in 1946. It even includes the Spanish version of Dracula which was filmed on the same set as the original at the very same time! White The Lugosi version was shot during the day, the Spanish crew took over at night. In many ways, the Spanish version outshines the Tod Browning directed original.

One of my guilty favorites of the Universal Classic film era is 1932's Murder in the Rue Morgue, presenting Lugosi in truly one of his most sadistic and macabre roles. This film ended up being the bone that both Lugosi and Director Robert Florey received for NOT getting their respective parts in Frankenstein, which instead went to Karloff and Director James Whale. This rather film features Lugosi as Dr. Mirakle, who injects the blood of an ape into women he captures. When the experiments fail, he dumps the women into a river. It's a highly underrated film and one of Lugosi's best roles.

Weaver and partners don't give a short shrift to lesser-known films. While the most popular films do get more coverage, even the least well-known of the Universal Horrors gets several pages devoted to it...and there are a number of lesser known films. Unfortunately a number of these are not on DVD or even VHS for that matter meaning that the entry in this book is probably the closest you'll get to the film without actually seeing it.

Many of these lesser-known films are not true horror but often murder mysteries with horror trappings such as "old dark house-style" films. These films include Secret of the Blue Room, Secret of the Chateau, The House of Fear, and The Black Doll. The appendix goes on to list several dozen more films that were borderline exclusions...close, but just not making the cut to receive a full write-up for various reasons. Actually it's somewhat difficult to figure out while some of these were left out of the main listing since many are quite similar in plot and tone.
This book is simply fabulous. Everything that Weaver does is always meticulously researched and extraordinarily entertaining. This is THE Bible to fans of Universal's classic horror films, and one of the finest film reference books I've ever read.


REVIEWED BY TIM JANSON

If you get just one book on voice development, it certainly should be this one. As a phonetics teacher, I don't agree with every single detail in the book. But as someone who has taught English pronunciation and oral skills to ESL learners for decades, and also as a radio broadcaster, I feel a strong resonance with Lessac's approach. Differing in the details doesn't really matter, since the core of Lessac training is heightened sensitivity and slightly understated but focused control rather than specifics.

Lessac uses orchestral instruments as analogies to teach better articulation of each English consonant, e.g. the "N-violin" and the "T-snare drum drumbeat". Though impressionistic in approach, it does helps the student have an optimal quality in mind to aim for, and to pay closer attention to each internal physical event and the effect it produces.

Lessac has a fondness for coining his own jargon, like "NRG" ('energy'), "esthetic" (not "aesthetic"; 'anything that promotes sensitivity and induces awareness of sensation and perception in the body'), "kinesensic" ('intrinsic "self-to-self" sensation'), and of course the famous "Y-Buzz". The new terms are however well justified, since each figures importantly in the framework he teaches. The glossary in the back of the book can help keep everything straight. I also flipped to the index several times when trying to sort out the differences between terms like "tonal NRG" and "structural NRG" in the context of the book.

This is a solid course book, not casual reading, so take the chapters one at a time, mindfully, to reap maximum benefit from the book.

This edition is attractive and carefully edited; I found not a single typo in the whole book. My one criticism is the price. The outstanding content makes it definitely worth the cover price, but I don't see why a paperback needs to be so expensive. Like with Peter Ladefoged's A Course in Phonetics (with CD-ROM), I guess it is because it is a popular university textbook that commands a captive audience. About a third of the cover price would bring it more in line with similar editions. But that's not the author's fault, I assume, and doesn't merit taking off a star. And speaking of Ladefoged's book, it would be helpful to readers if this book included a CD-ROM as well.

As a voice teacher for many years, I am always being complimented on my speaking voice. Arthur Lessac's book was not my speaking coach, my operatic training was - but the technique is the same. Lessac has done a masterful job explaining the "old" Italian, bel canto/good singing technique that's been around since the 1600's - but he's done it for the speaking voice. Singers need to use the same technique for both speaking and singing, and this is the best book I've found on speaking technique.

Now everyone can understand logically how to improve their speaking and singing voice, and perhaps operatic voices will be better understood as not being something elitist or unnatural. Using the power of your instrument to produce quality sound is amazingly natural - it ain't magic. The "magic" is being given the vocal chords of an angel, inspiration from God, the constitution of a horse, the luck of (all) the Irish, and the intelligence of an Einstein to develop that voice into a Pavarotti, a Sutherland, etc.

This is probably the best technique out there for freeing and developing a strong vocal instrument for speech and singing. This is the only voice text (and I've read and studied them all: Linklater, Skinner, Berry, Rosenburgh)which gives a spicific structural breakdown for the production of healthy and tonal sound. Most other texts are just exercises, but Lessac's System gives exact physical placement for each vowel, consonant, and dipthong sound as well as extensive tonal work. Especially good for the dancer due to the strong physical emphasis of placement of the tongue, lips, jaw etc. His work on Consonant action is quite inovative, drawing on the actors imagination and assining each consonant sound to an instrument in the orchestra, thereby allowing the actor to more quickly understand the musical quality of speech. Here is a basic overview of what is covered in the text; anatomy of the vocal instrument, the alignment of the body and the economical use of muscular effort to produce sound, the use of optimum pitch to discover and develop the presence of tonality and broaden pitch and range, the use of melody and the onomatopoetic nature of language to communicate ideas, and the application of these skills to a text.

This is everything anybody (actors, speakers and liars) will ever need to know about discovering, developing and using with confidence the voice as a tool to communicate. Westerners especially, I believe, have trained and maimed their voices to suit ideals (The average woman speaks about 6 tones higher than her natural voice prescribes). This book, a trusted training manual in many theatre and opera schools, teaches practically and without pretence, the real abilities of the voice. This is all one needs to acquire/rediscover, with practise, how the voice can be an (extemely flexible) extension of oneself in a physical world. A wholistic adventure which necessarilly encompasses correct breathing and posture, which will eventually be effortless, simply because it is natural. From an acting perspective the Arthur Lessac voice system becomes a perfect partner to the Stanislavskyan system of acting (associated with 'The Method' in USA). The practice of the Lessac system can easily be taught to a child and has proven successful in overcoming a stutter. This probably because the learner is made aware of the manoeuvre-ability of sound and how it is created, and not only on voice as a carrier of language. The book contains many excercises, each making one discover and realise the immense power of (self-generated) sound. Living in Africa one often wonders at the vocal powers of its people. Westerners can also feel at one with their true voices. The Lessac system would be the first (and last) step on the route to rediscovery. This is a popular book (I had two copies stolen from me when it was out of print) amongst performers and all those who believe their bodies are instruments.

I first became acquainted with Arthur Lessac's work in the 1970's when I was in Graduate School. Since then, his Approach to Voice and Body Training has been the mainstay of my professional and personal life. His new book (the third version) has been written in such a way that complements the older version, yet takes us on a training journey that is wholistically and organically fresh and new. I enjoy teaching from this book, and my students enjoy learning from it!
--Nancy Krebs, Lessac Master Teacher