Arts and Entertainment Books

The best book about David Bowie, in a non-bio way.
The meat of the book are its song by song chapter, and album by album chapter.
The song by song covers every Bowie song, taking about its form and whats its about.
The album by album chapter covers each album in great detail.
The book also has chapters about Bowie's art, acting, videos, ect. In all it has nearly everything you'll need to know about David Bowie's career.

If you are a Bowie fan, this is must reading. Pegg is extremely accurate, and his accounts of the songs Bowie has written and the stories about how the songs were recorded are fascinating. He does a great job tying Bowie's lyrics and music to places and times in Bowie's life, creating a full picture of all that was happening. The accounts of Bowie's tours and albums are accurate and excellent reading, very concise without being wordy or over the top. To get the complete picture of Bowie the entertainer buy this book. I have been a huge fan of Bowie since 1984 and this is the best book ever done on him.

The Complete David Bowie is definitely the best account of David's work, presenting in the first part of the book each and every song he has ever written or sung and continues with his albums, singles, movies and live appearances.

Don't get me wrong, Nicolas Pegg has done a great and painstaking job and the book is a great source if you're going to write a thesis on Bowie(!), but I wouldn't call it fun reading, mostly because of its structure, which is similar to that of a dictionary or encyclopedia! However, there are many interesting facts and quotes that will draw your attention, and you get to hear the explanation of many of his songs from David! -e.g. I didn't know what the theme of Heathen (The Rays) was and why it brought tears to his eyes in one of his concerts...

I think it's a very good and detailed piece of work, as long as you know what you're getting!

As a collector of Bowie's music, I found this book invaluable. It filled in some gaps in my understanding of the great ones music and cleverly clarifies the evolution process from one Bowie phase to the next.
The book makes reference to many rare and unreleased songs which is vital to a serious collector.
It is written plainly and factually with no hint of worship.
If you are only concerned with Bowie's music then this is the book for you. Essential.

The Complete David Bowie is definitely the best account of Davidýs work, presenting in the first part of the book each and every song he has ever written or sung and continuing with his albums, singles, movies and live appearances.

Donýt get me wrong, Nicolas Pegg has done a great and painstaking job and the book is a great source if youýre going to write a thesis on Bowie(!), but I wouldnýt call it fun reading, mostly because of its structure, which is similar to that of a dictionary or encyclopedia! However, there are many interesting facts and quotes that will draw your attention, and you get to hear the explanation of many of his songs from David! ýe.g. I didnýt know what the theme of Heathen (The Rays) was and why it brought tears to his eyes in one of his concertsý

I think itýs a very good and detailed piece of work, as long as you know what youýre getting!

Growing up watching the TV shows and later watching them on Christian TV, I am a great fan of theirs. I even visited their museum in California and just missed seeing Roy. I loved the book. I'm not a great reader but couldn't put it down. I even plan to read it again!

The Cowboy And The Senorita provides fans of Roy Rogers and Dale Evans with a new, authorized biography based on the contributions of the Rogers family, who share their inside story of the two. From Dale's determination to be a singer despite her position as a teen single mother to Roy's first wife's death and his struggles raising three children alone, Cowboy And The Senorita packs in black and white photos and high drama to re-create the special challenges and lives of the two.

Chris Enss's, The Cowboy and the Senorita: A Biography of Roy Rogers and Dale Evans is one of the most heart-warming and well written biographies about the "King of the Cowboys" and the "Queen of the West." The personal stories of Roy Rogers and Dale Evans are very well crafted, and the author is able to capture the essence and soul of these two wonderful people. Ms. Enss is articulate, animated, and amazing when she read excerpts from her book at a Barnes & Noble store. Fans of her wonderful book should really meet the author in person. I truly hope an audio version of this book gets produced soon.

There is a reason why Roy and Dale were and are national treasures, and The Cowboy And The Senorita reminded me why...their convictions, integrity and humility demanded that they were off screen what they were on screen, and their fans knew it and loved them for it. This was not only a nostalgic, entertaining, and inspiring story, I found it direct and readable and loaded with some wonderful rare photos. This is going to be the gift I give to everyone my age and older who needs a smile and a warm memory, and to everyone my age and younger who needs proven and tested human heroes to look up to and imitate. Happy Trails, y'all.

I loved this little book. Not a Hollywood whitewash, but a real story of two people whose love of family and faith shined for a whole generation because of their earnest values and huge hearts.

Being a huge Dawson's Creek fan, I just had to purchase this book and am I glad I did! The postcards are great! They truly capture the essence of the show!

Because I have already made it clear that I love Dawson's Creek, it's obvious that I would love this! The poscards are great! The pictures help to show why the show is so great!

My name is Jenn and I want to be just like Jenn on the show. she is my role model. i hope to one day be as experienced as her. think about it she gets to fool around with Dawson!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

This book is sooo awsome. I love the pictures and of course I will never send them. Ther just to cool. In all the pictures Pacey is soo cute. I love this postcard book!

I loved this postcard book. All the photos are great! I would NEVER actually send these postcards to anyone because the pictures are just too great!

I LOVED this book. Diana Vreeland's "Why don't you..." suggestions are absolutely wild. They're obviously intended for women of *great* means (why don't you give a diamond bracelet as a gift to the wife of your favorite bandleader?). And some of the suggestions are so out there, I swear she was chewing magic mushrooms. My favorite is the suggestion to put in a private staircase from your bedroom to the library, and have it carpeted with a needlepoint rug that spells out the notes to your favorite tune. My god, you're right, I'll do that tomorrow!!
This book is great to read out loud at a party.

the strange thing is, I am not sure if it's intentionally funny. The author clearly admires Vreeland, and it's a very affectionate book with wonderful photographs.

It is definitely a great glimpse at another era, and at a level of society I can only imagine. To have the kind of money that allows you to do some of these things is beyond my wildest dreams. It's a fun fantasy trip, and a fun retro trip. Five stars.

This book is something to read on a rainy day. It is beautifully put together and very mood uplifting. The suggestions do not seem all that outrageous to me and indeed could add that very necessary flair or as Diana would say PIZAZZ to your life. I love her suggestions for interior decorating. She talks about the pursuit of the perfect RED. How lovely to imagine living a life where your most important concerns are finding the perfect RED. And yes this book is probably for people who are already fans of Diana. Great pictures too.
ACL

My only qualm: I wish there'd been more "Why don't you...?"s. Frankly, I couldn't get enough of them:

"Why don't you have your cigarettes stamped with a personal insignia as a well-known explorer did with a penguin?"

"Why don't you rinse your blond child's hair in dead champagne to keep its gold, as they do in France?"

"Why don't you wear violet velvet mittens with everything?"

Indeed, why don't I?

This slim book far outshines its company in the Diana Vreeland library, and especially "Allure," a gigantic coffee table book with photographs that appear to have been digitized with a $20 scanner.

Of course, you must know and love Mrs. Vreeland to be here in the first place. Given that you do, buy this book. Don't expect a compendium of her suggestions and aphorisms. Do expect a delightful hour's browse. Well worth the money.

Any info on D.V. is exciting to me. This pretty book is filled with great photos and listing of all the "Why Don't You" articles created by Diana during her days at Harpers. If you are a fan of Diana Vreeland (as I am) you must add this book to your collection.

Catch up on your knowledge, or review what you know. Fun series of all that's Disney.

This is a great book about Disney Company. It goes chronologically from 1901 to 1999 and beyond. Every event in the company's history is put in the book, but without much detail.
Since he maintains Disney Archives, Dave Smith could have done a litle better, like he did with Disney's Encyclopedia.

This book was excellent! It had terrific pictures and it told from 1901 when Walt was born until 2001. It is a great keepsake. I purchased mine at Walt Disney World during the 100 Years of Magic celebration.

I really enjoyed this book. It is packed with lots of great photographs and artwork from Walt Disney and the Disney Company. It also has a really nice overview of the life of Walt Disney and the work of the Disney Company in text.

I appreciated the organization of the book. The book is arranged chronologically, which helped me to understand the flow of events better. This book has a very upbeat, positive tone and paints a very bright and exciting future for the Disney Company.

This book does not contain nearly as much information about Walt Disney as some of the biographies that I have read, but I don't think that was the goal of this book. This book does a very nice job of chronicling the art and the work of this great American icon and then continues the chronology with the work of the Disney Company in the post Walt era.

This book starts with very early Disney and takes the reader all the way through to Fantasia 2000. This is an excellent coffee table book. I highly recommended it to anyone that loves Walt, his work and the continuing work of the Disney Company.

This 213 page book is just full of an endless supply of full color photos of everything Disney for the past 100 years. You'll learn all about Walt's early life and how his ideas created worldwide Disney worlds. Each chapter covers a decade from 1901 to 2001 !! Many of these pictures are archival and never made available before. The book provides many memories for "children" of all ages. It's a keeper. Enjoy !

Writing this book has been, obviously, a labor of love for William Mann, whose earlier books convinced me that henceforward, everything he writes is to be treated as the work of an immensely serious, politically committed and ethical scholar. And yet when all is said and done, and a hell of a lot gets said in this book, I remained singularly unconvinced. Unconvinced as to Schlesinger's talent--sure, he made some great movies, but he'd have to have made CITIZEN KANE for the scales of justice to swing back to normal in light of MADAME SOUZATCHKA or THE BELIEVERS. Unconvinced about the frame story, for it seems so pathetic to dwell and dwell and dwell on the miseries of Schlesinger's life after his debilitating stroke when he could hardly speak and seemed miserable in every encounter. Unconvinced even about the title, which seems to have been chosen to echo Schelsinger's greatest success, MIDNIGHT COWBOY, but in that acse why not just call it MIDNIGHT COWBOY? And then in the long run he seemed like a miserable man in every respect of life, looking back, he was never very happy nor does he seem capable of radiating either good will or basic charity. Added to this the contemptible misogyny which, in a Balzacian scene, Mann summons up by asking Schlesinger for his final, considered opinion of the late Penelope Gilliatt. It's unprintable here, and unpleasant even in context of whatever crime she was supposed to have committed.

Are authorized biographies ever a good thing? What's the point of advertising them in that way?

And yet taken as a whole the book is a splendid piece of work, and in giving us the extremely varied picture of a lot of filmmaking atmospheres, from the Angry Young Men scene of the late 1950s in England, to the New American Cinema that MIDNIGHT COWBOY may be fairly said to have begun, to a later day when stars and producers and test audiences made movie making difficult for directors, Mann excels. It's panoramic in sweep, extremely detailed. And maybe the "authorized" label encouraged many in Schlesinger's circle to speak with Mann, including--well, it seems just about everyone. A great story about Madonna's affectations begins the book, which I won't spoil here but it involves her belief that she had a shot in securing the lead role in MEMOIRS OF A GEISHA. Enough said, go for it!

Two lapses in sense made me doubt my hero Mann for a moment. In discussing the Austin Powers phenomenon, he pronounces that "We've come so far that rebels now go BACK in time rather than forward, when the youth culture borrows relics of the past and jumbles them together into a pastiche of expression and attitude." Surely this has been an attribute of youth culture at least since WWII? Blue jeans weren't invented in the 1960s, they were retrieved from a workingman's past in the 19th century.

And look at this sentence, which touches on the critical reception of MIDNIGHT COWBOY. "Stanley Kauffman in THE NEW REPUBLIC adored the film, using adjectives like 'dexterity,' 'intelligence' and 'perception' to describe John's direction." Okay, maybe I'm missing the forest for the trees, but on the other hand maybe "adjective" has a new definition: "noun"?

Edge Of Midnight: The Life Of John Schlesinger is the authorized biography of the filmmaker whose most famous works include "Midnight Cowboy", "Bloody Sunday", "Marathon Man", and "Day of the Locust". Written with the full cooperation of Schlesinger, his family, and his companion of 36 years Michael Childers, as well as with complete access to tapes, diaries, production notes, and correspondence, not to mention interviews with the actors, crew members, friends and colleagues who knew Schlesinger, Edge Of Midnight accurately traces the singularly amazing career of a dedicated and visionary man. Highly recommended for professional cinema researchers and intrigued lay readers alike.

Poor John Schlesinger. This gifted filmmaker never seemed happy, gave off more than a whiff of bitterness, and even seemed jealous of some of the people with whom he worked.

Most especially, the late Penelope Gilliatt, who authored his finest work, "Sunday Blody Sunday." There has been much misinformation regarding this film. Gilliatt was a brilliant film and theatre critic and a writer of fiction. She was orginally part of the greatly influential team of Kenneth Tynan and Gilliatt at the Observer (London). Schlesinger asked Gilliatt to write the sceenplay of Sunday Bloody Sunday. He thought she was the "right writer." Subsequently, the film was made and received rapturous reviews; it stands today as Schlesinger's finest work, along with his T.V. film, "An Englishman Abroad." The trouble started when Gilliatt received the vast majority of the praise for the film, back in 1971 -- I remember. Pauline Kael went so far as to say that Schlesinger had been inspired by the "delicate substance" of Gilliatt's script, which led him to do his finest work. (And Kael and Gilliatt were NOT friends.)
Perhaps, in addition to Gilliatt's brilliance as a fiction writer, Schlesinger chose the heterosexual Gilliatt to write the script because she had been a champion of civil rights for gays and lesbians in Great Britain in the 1950s, when she was only in her 20s, long before, say, Stonewall in the U.S.A., and fought so that GLBTs could have a place at the theatre and film tables of England under the repressive and homophobic Lord Chamberlain. At any rate, her much-honored script is what the film is remembered for. (Also, Sunday Bloody Sunday didn't get a Best Picture Oscar nod, whatever that silly thing is worth, not because of the subject matter, but because a major English studio was about to go bankrupt owing to the dreadful and dreadfully expensive movie bomb "Nicholas and Alexanda," so the Academy members rushed in to help, or at least tried to, with a Best Picture nomination for it to get the studio afloat.) On its release, SBS was not a commerical success.
Anyway, SBS was a major criticial success. The attention focused immediately on Gilliatt and her original screenplay. Schlesinger charged in one interview that Gilliatt had wanted him to film the scene in which Peter Finch and Murray Head kiss, in long-shot, with the two of them running toward each other in slo-mo and shot side-on. Gilliatt was a film critic of what has been described as sky-rocketing intelligence (at the Observer and at The New Yorker), who received threats for her theatre criticism in support of breakthrough playrights in England. I cannot believe that she ever, even once, suggested, as Schlesinger claimed, that she wanted Finch and Head to run toward each other in slow-mo longshot for their kiss. Read her dazzling reviews of Ingmar Bergman's The Passion of Anna and Face to Face to know that she was simply incapable of that sort of sentimentality. To my knowledge, Schlesinger never offered any proof of the charge, either. The problem was, as I remember the events, he and Gilliatt didn't get along and he simply seemed terribly jealous of the acclaim heaped on her. He called her an intellectual snob, apparently because she was largely self-educated and a genius. She had, according to her friends, a near-photographic memory, was the youngest person ever to pass the entrance exams to Oxford, spoke six or so languages, was a serious writer of fiction and criticism, and had a colossal knowledge of theatre and film. Schlesinger must have felt deeply intimidated. How could he hold his own with her?
The playwright Joe Orton, also gay, apparently had no problem with her erudition, as they were beloved friends, and Gilliatt had many, many loyal and faithful friends in the GLBT community. Anybody who has read her fiction will know the script is hers in its entirety, and she made changes only to repair some structural problems and to accomodate the line readings of the actors, with whom she worked closely throughout the film, especially Glenda Jackson. Peter Finch said her script was the most beautiful he had ever read. How all this must have galled Schlesinger, already a sometimes trying presence to those who knew him. At the end, he made one dreadful film after another, often blaming the result on the actors' interference, etc. In truth, Hollywood had become so infantilized that the work of serious filmmakers was largely abandoned long before Schlesinger's death. All the same, he made two magnificent works, Sunday Bloody Sunday and An Englishman Abroad, and one deeply flawed but beautifully acted film Midnight Cowboy. It's doubtful the rest of his work will survive. As for Gilliatt, her vast body of criticism (film and theatre) is used in university film and theatre classes around the world, many of her short stories will survive as masterworks of the form, her brilliant profiles of Bunuel, Godard, Renoir, etc., are among the best of their kind and will be read long after all of us are gone. And Schlesinger, apparently jealous to the end, will forever be indebted to Penelope Gilliatt for her contributions, and she made many, many more contributions to the film than her screenplay, for as long as he or his film is remembered.

I am lying in the sun in Hollywood and I have just devoured this splendid John Schlesinger biography. I recommend it to every movie fan the world over. It is a lovely book and worthy of its subject.

Being north of forty, it would be impossible to underestimate the importance of John Schlesinger's influence on my life as a gay man. Midnight Cowboy and Sunday Bloody Sunday were seismic movie going moments for me. Truly great movies in their own right, both have fully-dimensional gay characters as well as homo-erotic moments that lodged in my young brain and stayed. Jon Voight is a luscious Ken Doll in Midnight Cowboy. And Murray Head could be the poster boy for sexy 70's male in Sunday Bloody Sunday. Glenda Jackson watching Murray's perfect physique as he showered was thunderous for me because every day in Catholic high school I stood next to beautiful boys in showers and I couldn't stop staring and also could not forget none of them would ever be mine.

And thank you John Schlesinger for Julie Christie! The movie-going public will be forever in John's gratitude for giving us Julie.

They say that the music one listens to in our teenage years becomes "our" passion music-wise for our entire lives. Certainly, my life-long allegiance to Joni Mitchell and Aretha Franklin attests to that.

I feel the same way about Julie Christie. I was too young for Billy Liar and Darling when they came out. But both movies mean a great deal to me now. As do McCabe & Mrs. Miller and Shampoo and Return of the Soldier and Afterglow. I love watching this creature on screen. Julie is sexy to me even though I have no desire for her. And I am as much a fan now as I ever was when I first laid eyes on her. More of a fan probably.

Bravo to William J. Mann for painting a vivid portrait of one of our greatest film directors. And bravo John for your illustrious career!

William J Mann is interviewing famed movie director John Schlesinger at his home in Palm Springs. John has just had triple bypass operation followed by a stroke which has left him paralyzed on one side, confined to a wheelchair, and almost voiceless. Although his brain is far from crippled and he can nod, shake his head, and sometimes answer questions in a brief, unexpectedly pointed whisper.

They spend their days together looking out at the mountains which edge the city, and William sometimes talks with Michael Childers, John's lover and partner for many years. Friends of John's occasionally pop in for a visit - Julie Christie, and Brenda Vaccaro, all tearful and upset at John's seemingly hopeless condition.

Mann uses this sense of immediacy to great effect in Edge of Midnight: The Life of John Schlesinger. Each chapter begins with a sense of how John is declining and how the author is racing against time to find out as much as he can. By interweaving the present with the past, Mann traces richly varied accounts of John's early struggles and glory days.

The end result is of man who has led a creative, and artistically fuelled life, with Mann offering a poignant contrast between the figure who sits staring at the mountains beyond the window, adrift in silent internal exile, with the sound of his laughter on recorded tapes. John's creative energy and intuition, his penchant for mischievousness and naughtiness, and his willingness to take risks and really push the cinematic envelope for more than twenty years, are highlighted with a candid and sincere accuracy.

And John Schlesinger also gave us Julie Christie, whom Schlesinger chose for the character of Liz in Billy Liar. The world of cinema would indeed by dull without the gorgeous Julie. Much of the narrative talks about the tremendous international success of Darling, and how the movie, not only cemented Christie's stardom, but also allowed John to go on to make even riskier movies.

Mann talks about why Darling was so historically significant and the part it played in the cinematic sexual revolution, which in turn greatly affected the changing sexual habits and attitudes in much of the West. John was determined to raise the bar with onscreen frankness, and he often found himself stymied by the Hollywood old guard who were determined to promise their audiences "real stars looking glamorous in beautiful gowns in beautiful sets, no kitchen sinks, no violence, no messages."

But it was Midnight Cowboy and Sunday Bloody Sunday that really pushed the cinematic envelope: Sunday Bloody Sunday, with film's first same sex kiss, boldly rejects "moral" judgment in its account of the middle-class London doctor and the professional woman's feelings and presents both kinds of love as equally natural.

In Midnight Cowboy, Jon Voight's naive hustler from Texas foresees a future for himself in New York as a stud for affluent lonely ladies, but failure plummets him to the city's harsh and seamy underside instead. Midnight Cowboy proved that films, which overthrew convention, that dared embrace radical form and content, could also make money.

Schlesinger admits that he wanted to tell stories that dealt with the human condition, human difficulties, and even the illusions of love. His films were all about adult themes - the difficulties of maintaining relationships, abortion, extramarital affairs, and homosexuality. He wanted to make films about "people pushed on to an edge," and also people who were regarded as the underdog, the outsider in society.

He believed that films needed to be relevant, and that they needed to reflect the changing society. He also wanted his audiences to think, but more importantly, he wanted them to "feel," be it terror or revulsion or compassion or pity. In later years when he couldn't set up the films he wanted to make, Schlesinger damaged his reputation, then his heart and his arteries, by accepting too many potboilers in the desperate, unfulfilled hope of a box-office success that would enable him to work on his own terms again.

Glenda Jackson had a filthy sense of humor. John played a terrible joke on Julie Christie, which involved a feminine sex aid during the making of Far From the Madding Crowd. Sean Penn, although enormously talented, was a nightmare to work with. At the last minute, Brenda Vaccaro refused to show her nipples when doing the love scene in Midnight Cowboy.

The Hollywood brass turned their back on John after the colossal failure of Honky Tonk Freeway, Rupert Everett and Madonna gave the poor man hell on his final disastrous movie, The Next Best Thing - Madonna begging him to do for her what he had done for Julie Christie, while Everett was more concerned with rewriting the script as they were shooting.

William J. Mann has indeed written a formidable account of one director's life, a wonderful patchwork of tidbits including interviews with the people he helped make famous - Alan Bates, Julie Christie, Glenda Jackson. Martin Sheen, Ian McKellan, and Dustin Hoffman.

What evolves is a fascinating biography of a man who desired success, and ambition, and even lots of money. It's a portrait of a tormented man who had a quirky pessimism not withstanding and lived a life relatively free of personal demons. Comfortable with his homosexuality, and totally committed to making movies, "his art came not from discontentment with life, but rather from a love of it." Mike Leonard October 05.

This book is so wonderful, now everyone an see how fresh flowers can enhance your life and your surroundings.

Thanks Elton for allowing us into your home.

Magnolia Village Florist
Seattle, WA

This book has awesome pictures of Elton John's homes, it focuses on the flowers in his houses. This book would be great to put on a coffe table, and a must for an Elton fan. I highly recommend it!

Excellent pictorial of an extravagant livestyle! Hard to belive, though, that there is a gross misprint on page 16-- the lyrics from "Your Song" are attributed to "Mona Lisa & Mad Hatters"! Oops!

Wow ... "amazing" is the best word I can come up with! I have been looking at decorating books for about a year since I bought my dream house. I stumbled upon this book, and have since bought copies for my Mom, my in-laws, my best friend, my gardeners, my designer, ...! I guess I am now their best customer! I plan to give a copy to my designer and say "Here, do this!"

Need I say more?

Elton John is an aristocrat, not only because the Queen said so. He demonstrates this in every day life, in the way he admits his weaknesses, in his involvement for beautiful causes. His house on French Riviera is a jewell. It's almost "too much". But "too much" is never enough for Elton. Thanks to the great pictures from this book you will discover a yellow castle between blue sky, deep blue sea and green grass. White structure of the house creates a contrast with blue, green and yellow. These colours could have been chosen by David Hockney. Original style of this house was respected. Flowers are every where. Furniture is on line with the overall "villegiature" style. Don't dream "too much", this "Saint-Jean Cap-Ferrat" life-style has a price. But who talked about money, here? Not Elton, for sure. This is, again, a demonstration of the noble qualities of that man. Never in the whole book, you will find any decoration detail that could make you think it is here to impress people or to demonstrate power. What a paradox! this modern excentric, in the tradition on XVIIIth century english excentricity, never looks arrogant. None of his crazy demonstrations of "luxe" make you feel bad. The Atlanta house is more interesting because of the beautiful furniture and made to order closets for collections of ... everything. This book is a tribute to pleasure, good taste (yes!) and high-life. I learned this word from Johnny Weissmuller in Acapulco (pie de la cuesta beach), just before he died. I think it is quite appropriate to describe what these houses are made for.

This book sticks to the music, and what music it was, or should I say, what music *made* - sometimes from situational film material. But this work sticks mainly to A-list, non-soundtrack recordings.
Whether he stuck closely to the demo, or reference disc, or completely reworked the tune, he made it at least interesting and listenable, and those that didn't make that cut (like "Hey Jude") are given a fair chance.
Since '68, I still can't believe what he did with "You'll Never Walk Alone"; discovering years later it was he on piano working out a "head" arrangement on the spot, made it seem even greater. This book will remind you why you liked a particular track in the first place or why you should have. At age 17, I didn't appreciate the depth of this performance, which in this book is described with masterful strokes. Another revelation for me was in reading about "Crying In The Chapel". I've always enjoyed Elvis' record of it, but thought he could have put more *voice* on it. Roy and Aspell evaluated the number as a whole and brought out nuances which have caused me to realize that it, too, is A-list.
I would have been happy to find reviews of movie fluff entries like "Sand Castles" or "Shake That Tambourine", but let's hope we get an "alternate take edition" of this fine manuscript.

THIS NOVEL SHOULD GO DOWN IN HISTORY AS ONE OF THE GREATEST BOOKS TO EVER BE WRITTEN ABOUT THE KING OF ROCK -N- ROLL . IT'S REALLY GOOD . IT TELL'S THE STORY BEHIND 112 OF THE KINGS GREATEST AND NOT SO GREATEST SONGS .IT FOCUSES ON WHAT REALLY IS GREAT ABOUT ELVIS' LIFE HIS MUSIC !

"The Essential Elvis" is a thoughtful exploration of the King's music from 1954 until his death in 1977. It's an important and much-needed work that concentrates solely on Presley's artistry. Authors Samuel Roy and Tom Aspell break free from the ill-informed mythology of most Elvis publications by re-examining Presley's work in provocative, exciting ways. You may not agree with all of the writers' criticisms, but it encourages you to track down the 112 Elvis recordings listed in their book.

There have been 4,567 books written about Elvis, mostly by people who have never known him, but whose third cousin's sixth-removed niece might have once dated Elvis' former schoolteacher's third wife. Then there's "The Essential Elvis." What makes this book so different is that Samuel Roy and Tom Aspell trace Elvis' life and legacy through personal history as well as 112 of his most significant songs. The book doesn't proclaim to be an expose or definitive history (it's neither); what it is is a clear portrait of the Man Who Would Be King, told through behind-the-scenes knowledge that uncovers and pieces
together the story of a man, his times, talent and cultural influences. And the 20 photographs -- many of which have never been published --- add a nice touch.

This excellent book is about what was most important to Elvis and his fans: his songs and music. One of the most significant things the authors said about Elvis is the following words: «The first and best thing that can be done for Elvis Presley is to lessen the emphasis that has been placed on his later years and focus on the talent and genius that define the King.....one of the reasons for his demise was because he cared and felt too much...it got to the point that being Elvis Presley was one of the hardest jobs in the world». I agree completely with the authors and, as a fan, my only wish is that this book will make the people, who don't respect Elvis, see the light...

I grew up watching Fred MacMurray on My Three Sons and in the Disney films of the '60s. Later, I saw him in films such as The Egg and I and Murder He Says. Later still, I was stunned by his performances in The Caine Mutiny, The Apartment and Double Indemnity. What a remarkable actor, and what a nice man. This book is a real tribute to Mr. MacMurray. My only quibble is that it really needed a good editor.

This book was a quick and easy read. It's loaded with information about Fred MacMurray's life and is presented in a clear chronological order with a good assortments of photos, much like Tranberg's Agnes Moorehead biography. It's clear a lot of research and interviews took place to amass this collection of data on my favorite Disney dad. I'm always glad to read when an actor is how I imagined them to be in real life. MacMurray's life story will not disappoint fans.

Charles Tranberg's new biography of movie icon Fred MacMurray is a class act - just like the man himself. Extremely well-sourced and filled with lively interviews from friends and associates who knew MacMurray best, we get to see not only Fred MacMurray the prolific and popular movie star but, more importantly, the very nice man himself. From his formative years as a small-town boy in Beaver Dam, Wisconsin to his touring band days as a saxophone player to his on-screen years in film classics such as "Double Indemnity" and "The Apartment" to his long-running role as the Dad on TV's beloved "My Three Sons," it's a fascinating journey so well-told. One of the best books on a Hollywood legend to be published in years - highly-recommended!

One of the biggest challenges facing biographers who venture into telling the stories of stars from Hollywood's Golden Age is getting input from former co-stars and co-workers - most of whom are no longer with us. Charles Tranberg has accomplished a difficult task admirably. MacMurray's biography is filled with ample commentary from actors, producers, and directors who worked alongside him in films and television. Although MacMurray may have referred to himself as a "boring" subject, this biography is anything but. Background details on some of MacMurray's classic offerings (Alice Adams, Double Indemnity, The Caine Mutiny, The Apartment) make for a very interesting and informative read. Tranberg acquired interviews with MacMurray's TV sons, who give an honest portrait of a talented if often insular man. MacMurray's children were also involved with the telling of this story and they detail their father's passion for the outdoors and their ranch-life in Sonoma County California. Nicely illustrated, this is a wonderful addition for anyone's film library.

A thoroughly researched bio on Fred MacMurray, who was always underrated as an actor, and more known to folks today as Steve Douglas on the long running tv series "My Three Sons". This book has plenty of interviews with colleagues and a lot of great photos. The forward is by Don Grady, who played Rob Douglas on My Three Sons. The only thing I would have liked, as with all biographies, is to know what his kids and grandkids are doing.

I own a few Tarot books and enjoy working with the cards on occasion. Girl's Guide to Tarot is one of the better ones I've come across. While most books have something to their credit, Tarot is a complicated subject and I confess I did not expect this amount of depth in an intro book for young girls. I took it out of the library for a book club meeting where the book involved Tarot.

Parents will appreciate Ms. Olmstead's careful use of language when she describes the kinds of answers a person can get from the Tarot and her sound advice about using the cards. "Be careful that you don't rely too much on the Tarot to handle the little things in life. If you are asking if you should wear the blue or the green sweater, you know you've gone too far. The Tarot should be an extension of your daily life, not a controlling force."

This attitude is reinforced throughout the book, which I think a very responsible thing. A young girl could easily get sucked in to thinking Tarot will tell her future. The author makes it clear the cards can present possible resolutions to problems, but the future is something to be created by the reader. This point is restated several times in various ways.

The book contains an overview of the varied history of the Tarot, descriptions on how to shuffle, ask questions --excellent advice here-- "put a positive spin on it" "Don't ask, 'why can't my mom stop giving me such a hard time?' Rather "What can I do to increase understanding between Mom and me?" A section of very good, accurate card definitions, a wonderful section with very useful spreads spreads. Teens may find the "what can I do to increase my self esteem" spread helpful. A section on journaling and caring for the cards, etc. Also some projects, even advice on making your own deck for the ambitious!

In short, lots of good information here set out in a manner that encourages the reader to be non judgmental, to think carefully about problems and take positive action to solve them. Also the book does not have any Wiccan/religious viewpoints. These would not bother me, but this might be a concern for others. There are longer books out there for older audiences that are not nearly as good as this one. I wish I'd bought it sooner!

If it wasn't for this book, I still wouldn't know how to read tarot cards. This book was nice and simple and easy to use. I had no problems understanding it!

I really find that this is one of the best books on tarot that I have seen. I haven't had much luck with a lot of books because they tend to give lots of definitions and many of them are really vague. This book, however give straighforward and most importantly accurate meanings to the cards. It in one of the few books that makes the cards really usefull. Quick and easy but don't think that means fluff. This is a book that I will recomend to others, no matter what the age.

I was very engaged by this book... as an older "girl," I appreciate the way in which Olmstead presented tarot as a way to explore one's goals, hopes, and dreams. Through the self-examination encouraged by the excellent spreads, any girl can start her own journey towards wisdom. The explanations of the Rider-Waite deck are clear (well, as "clear" as tarot gets!) and the descriptions of little rituals and ways to learn the art (especially the "card-a-day" suggestion, brill) are reasonable AND fun. A great gift for a girl learning to read her own life and live with confidence.

We ran across this delightful book at our local library during a routine trip with the wee ones, and what a wonderful find! It is written for girls ages 12 and up, but we think its appeal is much farther reaching. All 126 pages are brightly and softly illustrated; there is nothing dark, scary and mystical here. It starts with a brief introduction and history, and gives a novice reader a good idea about what Tarot is and is not. There are simple step by step instructions, and sections on how to pick out a deck, storing your deck, and how to create your reading environment. The Major Arcana descriptions are a page each, using the Rider/Waite/Smith deck for illustration, and the author refers to these as the "Destiny Cards". The Minor Arcana descriptions are two per page, and are referred to as the "Free Will Cards". There are fifteen pages of spreads, from the most basic using 2 cards up to using 18. We were pleasantly surprised to find a section on designing your own spreads as well as finding your birthday Trump card. The closing section will appeal to those crafty sort, with instructions on how to make your own Tarot decks and bags. We thoroughly enjoyed this book - it presents such a fresh, new approach. Our only wish is for a bigger section on reversals, but overall this is a good beginner book for a young reader, and one we wouldn't hesitate to recommend!