Arts and Entertainment Books

This is a great book! Very easy to read and an interesting story. Roone is so creative and you really get to know him in his memoir. I enjoyed all of the behind the scene stories about Monday Night Football, Wide World of Sports, boxing and World News Tonight. He had to deal with a lot of difficult people -- mostly in the news division -- but he knew what he was doing and always succeeded. This is a success story. The greatest story is how he got started when he was a waiter in a restaurant. It's too bad that the kids working in the restaurants, fast food places and retail stores don't read this and apply themselves to their jobs because you just never know who might be your customer! Roone was always a pro and that's why when fate intervened, he succeeded. I highly recommend this enjoyable and well-written book!

Every once in a while there is a book that you hate to see come to an end. Roone: A Memoir is one of those books.
The reader races through his busy days right along with him. The reader gets the inside jokes and snickers at the absurdity of many situations that were common place.
He does not allow you into his private life. He mentions the break up of his first marriage and casually introduces his second wife. So casually, that I missed it and had to go back and find the reference.
The stories about current TV personalities and those who have passed are captivating. His experiences during the Munich Olympics brought back memories of that horrific nightmare.
This is a book that will definitely be a gift to the sports minded people on my list this Christmas.

Every once in awhile you find someone who loves their work. They don't mind putting in 18 hours a day on the job, because it's their life and it's what brings them happiness. Such was the case with Roone Arledge. Roone not only brought happiness to his own life but he brought a lot of happiness to viewers too.
His recent death probably wasn't all that surprising because he had come to the end of a very long and productive career. The end of the career in many ways was the end of his life.

His work in building ABC Sports and News will live on for decades. Millions of people tune in every night to watch Peter Jennings' newscasts or to watch Monday Night Football or Nightline. All of it can be traced back to Arledge's innovation and this book details how it all happened.

What I liked best about his book is that he was able to delve into the personal curiosities of many television personalities but he does it without rancor. For example, Howard Cosell and Frank Reynolds were probably not the easiest people in the world to have working for you. This book delves into those challenges but still does it in a positive way and you come away with respect for everyone in the book.

It's a great read and also a great resource regarding the history of television.

This was a fascinating look at the life and times of one of the most innovative minds in television history. This man originated a lot of the things that modern viewers take for granted. There was also some great background on a lot of the network stars, past and present, that made the book even more interesting. It is very enlightening to look inside some of the ridiculous egos that dominate the profession. If Arledge had been alive to promote the book it would have been a bestseller, no question.
This book was a terrific, highly entertaining read because the reader gets the inside scoop on so many stars and how so many concepts, like instant replay, were invented. Definitely worth the time-highly recommended!

Roone Arledge wastes no time sharing the fun of producing sports, first at NBC and then to ABC. He proudly tells how he helped land groundbreaking contracts for NCAA football and then several Olympic games. It's a fun ride that gets faster as he takes on ABC News, known to the competition as "Almost Broadcasting Co."

The book is all about personalities: the executives, the on-air talent, the producers and directors -- Arledge seems to relish in the trials and triumphs of his dealings. Also, Arledge always mentions which restaurants in which negotiations occurred -- the food and the atmosphere rank as importantly as the people. His final scene in the book, a reunion of ABC teammates, is painted with details of a popular New York eatery.

As Arledge tells it, the process of people management and kicking the competition while doing it is the real fun. And when you get to hang out with Peter Jennings, Barbara Walters, Diane Sawyer and even Sam Donaldson, it's always going to be interesting.

The book's second half takes a darker tone as bean-counting executives from Capital Cities buy ABC in the 1980s. The high-rolling days at ABC and other nets came to a close as leveraged buyouts gave investors the chance to own chunks of the Fifth Estate, and the heritage of ABC's Leonard Goldenson and CBS's Bill Paley quickly faded. It wasn't about broadcasting anymore, it was just about money. Having worked in local television during this time, I found much of Arledge's account to be familiar with my own career experiences.

Arledge doesn't spend much time describing the mood after Disney bought ABC in the mid 1990s, but it's clear that Disney was an immediate improvement over the CapCities reign.

Of course, Arledge fought cancer and other ailments late in life, and he died in late 2002 before the book hit shelves. For me, the book lacked much substance about his personal life, his faith or outside interests or accomplishments. True, his work impacted important stories involving U.S. and USSR relations, race relations in South Africa and other milestones. But, if his life was consumed by the TV biz, to the exclusion of family, other causes and loves, this story reads a bit like a tragedy. Broadcasting is a very exciting but always changing product; Arledge's lifelong accomplishments are fading daily into the new visions of management at ABC.

To my abject shame, I confess that prior to reading this biography, I knew Ponselle only vaguely as a "name" from the Golden Age. (Since reading the book, I've acquired dozens of her recordings and viewed her screen test!) What great fun this book is! And what a life to chronicle. Miss Ponselle is shown to be a complex, fabulous, contradictory, and sometimes infuriating human being, a woman of enormous stamina and determination. Her struggles would seem trite and unbelievable in one of those Hollywood faux-bio movies once so popular, yet she did struggle and triumph in the best screen tradition. Without resorting to any phony sensationalism, the author skillfully kept me poised on the edge of my seat, waiting to see what was going to happen next. This may have been partly because I was unfamiliar with Ponselle's career, but I think it would be true for all readers. A rich and totally fulfilling book.

Biographies of the great opera singers are not plentiful. The truly good, well-written biographies are even more scarce. The biography of Rosa Ponselle by James Drake belongs in that handful of well-written and well-reseached biograhies that are not only readbale but are difficult to put down (to sleep). This is not a reprint of the earlier book written by Ponselle with Drake but is an entirely new volume drawing on interviews and documents that were either unavailable or suppressed by Ponselle in "A Singer's Life". Drake constructs his narrative judiciously and fairly giving us a complete (or, rather, as complete as possible) picture of one of the greatest sopranos of this century. In addition, it also provides fascinating glimpses of some of her colleagues such as Caruso (with whom she made her Met debut in 1918) and Martinelli as well as the rigors of making records during that era and the everyday workings of the Met. This is a fascinating volume that belongs in every opera lover's library. My only quibble is that Amadeus didn't include a CD with the book (as does Baskerville Publishers). No, not of Ponselle's recordings. Those who buy this book will find her complete recordings readily available on Romophone in superb sound. Rather, it would have been nice to have been able to listen to some of the interviews used throughout the book rather than just read them. Having met Ponselle, it was a delight talking to her and that comes through on the recorded interviews. Despite this small quibble, I can't recommend this book strongly enough. But, be forewarned, it's as hard to put down as a good Agatha Christie!

James Drake's previous biography of Rosa Ponselle (styled an "autobiography," but in fact written entirely by Drake), was an excellent book and, until this new offering, served as the only biogrqaphy of an artist many consider the greatest opera singer America has produced, and one of the greatest, of any nationality, of all time. Prof. Drake's new book on Ponselle is not merely a rehashing of his earlier effort, but in fact entirely supersedes it. Unorthodox in organization, it gives us a complete picture of Rosa Ponselle, both as artist and woman. Prof. Drake has given us one of the finest biographies of an opera singer ever written.

Each chapter in the book is divided into four sections. First, there is an introductory overview, by Drake, of the period of Ponselle's life covered in that chapter. Next comes "The Interview," which is a transcript of interviews Ponselle gave to various persons (including the author) in the later years of her life, again dealing with the period of her life covered by the chapter. Here, Ponselle herself speaks. Then follows an account by some other person closely associated with Ponselle, dealing with the same events - her manager, Libbie Miller; her secretary and longtime companion, Edith Prilik Sania; her husband, Carle Jackson; and a close friend, Lena Tambourini. Finally, there is "The Written Record," which looks at what was actually written about Ponselle at the time of the events in question - reviews, articles, interviews, etc.

The overall effect of this sequence is to give a full, well-rounded and sometimes conflicting account of Ponselle's life. Not infrequently, Ponselle's own spoken recollections will be contradicted either by the recollections of others or by the written record. Perhaps the most important contribution of this book is to scrutinize - and in part, explode - the "Cinderella" myth surrounding Ponselle's "discovery" by Caruso and her subsequent engagement by the Met. Edith Prilik Sania's account gives a fascinatingly different perspective on these events. (She was there when they happened.) Another example of a fresh and varied perspective is the account of Ponselle's relationship with her manager early in her operatic career, William Thorner. Ponselle always maintained that Thorner never gave her any voice lessons ("I wouldn't have let him touch my voice!"), contrary to his own claims, and she downplayed Thorner's role in her engagement by the Met. Ponselle's recollections were no doubt colored by her personal antipathy to Thorner. (She later sued him, and one gets the impression that she never forgave him for steering her to Columbia records, rather than to Victor, where she would have been able to record with Caruso). What the written record and Edith Prilik's recollections show, is that Thorner may in fact have given Ponselle some voice lessons (he was a well-known vocal instructor at the time), and he had a lot more to do with Ponselle's "discovery" than she later let on.

Perhaps the major difference between Prof. Drake's old book and the new one, is the extent to which this new book gives us an unblinking look at Ponselle's personal defects, only hinted at in the "autobiography." Ponselle was apparently a very high-strung, almost neurotic individual. She could be petty, mean, greedy, and very difficult to live with. (Admittedly, not uncommon caracter traits among opera singers generally.) She also had many positive qualities, including loyalty to her family (she supported most of them), and she obviously inspired considerable devotion in her friends.

What there is no dispute about by anyone in this book is Ponselle's greatness as a singer. Her magnificent voice, unique in its dark, voluptuous timbre, apparently conquered all who heard it, and her recordings, technically primitive though they are (and which Ponselle herself disliked), are her passport to operatic immortality. Prof. Drake's excellent new book gives us a good look at the life and career behind the indescribably beautiful sounds one hears from a Ponselle recording. "Rosa Ponselle: A Centenary Biography" is fully worthy of its glorious subject.

If Flaubert was in love with Emma Bovary, surely James Drake must be in love with Rosa Ponselle. He has made her live for us, just as Flaubert made Emma flesh and blood. For me, opera singers are made of glass; they shine, and they may even seem transparent, but rarely do they seem human. Through the clear, admiring eyes of James Drake, Rosa could be our next-door neighbor. The dignity of Drake's writing, his clear love and respect for his subject makes her life shimmer like crystal. This book one of the best of the summer

James Drake's previous biography of Rosa Ponselle (styled an "autobiography," but in fact written entirely by Drake), was an excellent book and, until this new offering, served as the only biogrqaphy of an artist many consider the greatest opera singer America has produced, and one of the greatest, of any nationality, of all time. Prof. Drake's new book on Ponselle is not merely a rehashing of his earlier effort, but in fact entirely supersedes it. Unorthodox in organization, it gives us a complete picture of Rosa Ponselle, both as artist and woman. Prof. Drake has given us one of the finest biographies of an opera singer ever written.

Each chapter in the book is divided into four sections. First, there is an introductory overview, by Drake, of the period of Ponselle's life covered in that chapter. Next comes "The Interview," which is a transcript of interviews Ponselle gave to various persons (including the author) in the later years of her life, again dealing with the period of her life covered by the chapter. Here, Ponselle herself speaks. Then follows an account by some other person closely associated with Ponselle, dealing with the same events - her manager, Libbie Miller; her secretary and longtime companion, Edith Prilik Sania; her husband, Carle Jackson; and a close friend, Lena Tambourini. Finally, there is "The Written Record," which looks at what was actually written about Ponselle at the time of the events in question - reviews, articles, interviews, etc.

The overall effect of this sequence is to give a full, well-rounded and sometimes conflicting account of Ponselle's life. Not infrequently, Ponselle's own spoken recollections will be contradicted either by the recollections of others or by the written record. Perhaps the most important contribution of this book is to scrutinize - and in part, explode - the "Cinderella" myth surrounding Ponselle's "discovery" by Caruso and her subsequent engagement by the Met. Edith Prilik Sania's account gives a fascinatingly different perspective on these events. (She was there when they happened.) Another example of a fresh and varied perspective is the account of Ponselle's relationship with her manager early in her operatic career, William Thorner. Ponselle always maintained that Thorner never gave her any voice lessons ("I wouldn't have let him touch my voice!"), contrary to his own claims, and she downplayed Thorner's role in her engagement by the Met. Ponselle's recollections were no doubt colored by her personal antipathy to Thorner. (She later sued him, and one gets the impression that she never forgave him for steering her to Columbia records, rather than to Victor, where she would have been able to record with Caruso). What the written record and Edith Prilik's recollections show, is that Thorner may in fact have given Ponselle some voice lessons (he was a well-known vocal instructor at the time), and he had a lot more to do with Ponselle's "discovery" than she later let on.

Perhaps the major difference between Prof. Drake's old book and the new one, is the extent to which this new book gives us an unblinking look at Ponselle's personal defects, only hinted at in the "autobiography." Ponselle was apparently a very high-strung, almost neurotic individual. She could be petty, mean, greedy, and very difficult to live with. (Admittedly, not uncommon caracter traits among opera singers generally.) She also had many positive qualities, including loyalty to her family (she supported most of them), and she obviously inspired considerable devotion in her friends.

What there is no dispute about by anyone in this book is Ponselle's greatness as a singer. Her magnificent voice, unique in its dark, voluptuous timbre, apparently conquered all who heard it, and her recordings, technically primitive though they are (and which Ponselle herself disliked), are her passport to operatic immortality. Prof. Drake's excellent new book gives us a good look at the life and career behind the indescribably beautiful sounds one hears from a Ponselle recording. "Rosa Ponselle: A Centenary Biography" is fully worthy of its glorious subject.

If your career aspirations lie in the show biz world, don't forget to consult actor/producer/casting director Steve Stevens Sr.'s So You Want To Be In Show Business: A Hollywood Agent Shares The Secrets Of Getting Ahead Without Getting Ripped Off. Stevens also has a background representing struggling actors: his 50+ years experience in the acting trenches lends to an eye-opening industry reference crucial to learning about casting, agents, and more.

I picked this great guide up last week, finished it in a day, and am totally changing the way I approach this business! There are so many little things that the authors recommend doing that I would never have thought of--I am much more confident, because now I feel like I am fully prepared when I go into auditions... Thank you!

This is my first review of anything, but I felt like I needed to give this book a plug--even though it comes from a small, independant press, this book should be in every acting/directing/theater class in the nation. Cady and Stevenson take you through the inner workings of the agent business, the right/wrong approaches to auditions, the way to work in Hollywood while keeping your sanity, all while maintaining an easy tone that gives one the confidence to take a chance and try to be a star! Great work, and a bargain for those of us who thought they knew the business.

This is an absolute must-have for all actors! After being an actress for over 20 years, I have spent countless hours reading books on the business of acting. "So you want to be in Show Business," is the most complete book I have ever read on the subject. Steve Stevens Sr. masterfully blends humor along with the no-nonsense truth about this crazy business. All while giving encouragement and sharing his passion. I cannot recommend this book highly enough.

Highly informative and very entertaining... anyone thinking about embarking on an actor's life should read this book! Loved it!

This book is fantastic. Connie has managed to put into words what most people just think. It is great to read a book with such witty humor and deep insight. Bravo Connie, my hat is off to you.

I give Connie Cronley 5 glittering stars for this enchanting book of essays about all the things we experience but are often too busy to stop and observe. She has recorded most of these essays (first heard on Public Radio) and what a recording it is. Listening to it over and over is like visiting with a good friend.

I don't usually read non-fiction to escape and feel good, but Ms. Cronley's collection of essays gifted me with a wonderful afternoon of humor and insightful commentary. I adore this collection! Order this book, curl up with your cat and your favorite glass of wine (or two), and prepare to have a wonderful time.

This book may make you see things differently. You may see cats differently, or flower gardening, or bright moonlight nights, or crisp spring days. Ms. Cronley's gift for imagery makes this an enjoyable reading experience. Her wit is a bonus. I experienced many giggles and a few really good laughs while reading it. I couldn't decide whether to buy the book or the audio cassette, so I bought both, and I'm glad I did. I enjoy the book at home and the cassette in my car.

Connie Cronley's "Sometimes a Wheel Falls Off" is a collection of wry observations and smothered giggles. Each piece, originally drafted for NPR, has a deft and gentle humor reminiscent of the Talk of the Town brief assays from the New Yorker. Ms. Cronley describes the small universe of her home and cats, her cosy neighborhood, and the larger world she visits when she travels. But some essays are more worldly than these perfectly crafted intimate essays. She provides wise and thoughtful analysis of well known authors and their work. The best part of this collection is the voice of a friend, admiting fraility and finding gentle humor in the vagaries of her life. It's a thinking person's inspiration. I bought twelve copies as Christmas gifts and I realize that I need few more.

It was the most intriguing and interesting book, I felt like I was right there at the circus.The stories were so informative and at times very funny. It was hard to put this book down.

This book is a veritable delight! It is all at once humorous, credible and compelling. The authors' use of language creates a visual mind picture that is like an outing with a friend. An easy , interesting look at the thought processes that we can all relate to at one point in life or another. Definitely 5 stars!!!

This book is the genuine experience! The author has an incredible knack for triggering each of the senses as she describes with vivid, page-turning detail the life she actually lived and observed first-hand in the circus. Anyone who remembers attending a classic, tented circus as a youngster will find most compelling her ability to virtually bring you back there again, but this time with the privilege of an extended personal tour that completely bypasses the ticket office. With the close of its last page, you'll feel that you, too, have actually lived the experience, and that you personally know each of the personalities who formed its fabric.

As thoroughly dazzling as this book is, it is NOT fiction, making all the more engaging the author's candid illustration of every facet of circus life. Surprisingly, the author also has a great deal to say about the far broader world at large within which the circus existed, told with a perceptive and poignant honesty and frankness, but also with an acquiescent reverence and humor that's accepting of the persuasions of that era. These observations were as engaging as those of the circus -- like watching vintage film footage of a 1930's baseball game but being just as intrigued by the look and dress of the audience in its stands.

I highly recommend this book to anyone who wants to truly visit, or re-visit, the bona fide circus of yester-year. The author realistically tells of a time and place that you'll want to step back into and hang around in long after you've finished reading it...and as authentically as this author captures it, you'll feel that you easily can.

C. B.

"Spangles, Elephants, Violets and Me" by Victoria Cristiani Rossi her intelligent memoir is the best circus book since "I Love You Honey But the Seasons Over." Victoria Cristiani Rossi born into the Famous Cristiani Riding Family while her family was touring with the Ringling Bros. and Barnum & Bailey Circus. From Ringling a very young Vickie moved with her family to another huge railroad show under the Big Top - Cole Bros. Circus. The Cristiani Family occupied an entire railroad car that was specially built for the family. Victoria takes us not only behind the Big Top but her days attending privates schools away from the circus. Our author spends her late teens on the Cristiani Circus Family Circus. She writes about 1958 tour from Sarasota to L.A. via Chicago and her near fatal Hollywood accident that landed her in the L.A. hospital and romancing her future husband Ben a featured cowboy roper and rider on her families circus. Ben within a short time also had a circus accident and was omitted to the same hospital. The (Ozzie & Harriett) Nelson Brothers Rick and David were regular hospital visitors. This is all great reading that once you pick "Spangles, Elephants, Violets and Me" up you won't put down until completion. This book is about real circus and elephants by someone that actually lived the story...Victoria's book is a significant circus memoir. The book is correspondingly an account of her own search for the "violets" in her life.

I found out about this new circus book on Buckles Blog which is a fantastic information source on the circus.
So I ordered this fantastic book and it was so good I could not put it down until I finished it.
It is about the famous Cristiani circus family who were on many famous circuses and who had at one time the largest tented circus that traveled the United States.
They flipped backwards from horse to horse with four horses going around a circus ring. This feat has not been repeated as they were the best ever.
The author who is a daughter of the famous group takes us step by step up their success ladder.
She was there and was part of this famous circus group and she tells us all about it.
There is a great section of photos that covers the Cristiani's career.
If you are a circus enthusiast like I am, this is a must.
You will really enjoy this great book.
Harry Kingston
Circus Fans of America

The first maybe six or seven chapters of this book were really tedious for me as they really didn't seem to delve into the life of Mr. Perry as much as they explored the "times" of Mr. Perry. It wasn't until around chapter 8 or so that I was able to enjoy the book as it went into more detail about Mr. Perry's life in and out of show-biz. Mr. Perry was a character, to say the least. Flamboyant with his riches and fame, but seemingly not so smart about his future. I just don't understand why some don't see just how much of a contribution Mr. Perry made to the world of Black cinema. Yes, he perfected the character of a slow-footed, shuffling, mealy mouth, but had he not made those enroads in film, would there be the Poitiers and Washingtons of today? I wish that there was some way to actually view In Old Kentucky and Hearts in Dixie so I can actually see the character Mr. Perry created and watch as his talents were displayed. Given the times that Mr. Perry and others of his generation had to work within, I'd say that he did what he had to do. Watkins does a fine job of providing us with a fact-based and well-documented glimpse into the life and times of Mr. Perry.

This book was well researched, and provides an entertaining and enlightening insight into an era that could not exist since the civil rights movement of the 60's. It speaks to social justice and inclusion, bias and the ability to transcend existing norms to earn a living at a time when, for black America, second class citizenship and economic hardship were the norm. Mr. Watkins is the professor and we are his students.

A Fascinating Character"

I'd heard the term "Stepin Fetchit," but I didn't know that there was a real person (Lincoln Perry) or movie star who used the name. So when a friend suggested I read this book I was leery. But after a few pages I was caught up in the times and in Perry's struggle to break into films and establish himself as a star. What surprised me most is that he was apparently an intelligent, gifted performer who was nothing like our picture of the "Uncle Tom" that the name is associated with. Who knew that Perry wrote for the Chicago Defender, fought for higher pay and better roles for black actors, hung out with the heavyweight champ Jack Johnson as well as Muhammad Ali, and, for years, lived such a lavish life in Hollywood. Watkins gives us a rich, detailed account of this complex, talented black comic actor. And when one reads about the racial restrictions and circumstances of black actors in the 1920s and 30s, the reasons for his being cast in the cartoonish movie roles he played become clear. He was a man before his time. I finished the book thinking that Perry, with his ambition and outrageous knack for publicity and self-promotion, could have been a star today. It seems that Perry had more flair and attitude than many of today's biggest stars.
This is an entertaining, eye-opening book - a great read. I recommend it for anyone interested in entertainment history or the bumpy road that black actors had to travel to become accepted in Hollywood, and for everyone who wants to be introduced to one of the most fascinating characters I've ever read about. Lincoln Perry's achievements need to be reevaluated and "Stepin Fetchit" definitely deserves * * * * * Five Stars.

Lincoln Perry, the man the world came to know as Stepin Fetchit, was a complex man. After reading this book, I realize I have childhood memories of seeing Fetchit in films on television. I also remember some of his imitators. Mel Watkins brought to mind cartoons like "Who Killed Cock Robin?" where a Stepin Fetchit type character was being beaten by the police. I asked my sister to quote our deceased mother using the title of this book. She said, "Stop acting like Stepin Fetchit." That made us laugh. But I also remember being taught by my elders who were the great grandchildren of ex-slaves, the subtle form of "playing dumb" to avoid being oppressed by the oppressor. Unfortunately, when "the oppressor" saw Stepin Fetchit movies, he didn't get the joke because it was at his expense. Therefore, forward thinking black people had to cringe watching some of movies movies in mixed company because they knew that this comedians "act" was being accepted as typical black man behavior. Mel Watkins did a fantastic job of explaining Lincoln Perry and the time in which he lived.

Chances are you don't know who Lincoln Perry is, and chances are you do know who Stepin Fetchit is, even though you may never have seen any of Fetchit's movies. Fetchit was Perry's stage persona, famous for playing the "shiftless darky," the slow-talking, drowsy shuffler that was the comic bane of his white masters. Perry was as full of contradictions as the character he portrayed, and both get a full biography in _Stepin Fetchit: The Life & Times of Lincoln Perry_ (Pantheon) by Mel Watkins. Watkins has previously written a history of African American comedy, and so is well acquainted with Fetchit, his fellow performers, and the social changes of the twentieth century that led to the changes in feeling about Fetchit's screen character. This biography is not just about the man and character, but about a particular aspect of twentieth century American race relations.

Perry was born in 1902 in Key West, Florida, and followed his father into performing, working tent shows, carnivals, and eventually vaudeville. Movies were not a career that black performers considered at the time, because if depicted, blacks were played by whites in blackface. Perry may have taken a job as a porter at MGM, and in 1927 he acted in _In Old Kentucky_, his first film appearance, one which got him some critical notice. Perry did not invent Fetchit's "torpid physical presence and halting, meandering speech," but he performed the role with meticulous attention and timing. When onstage before an audience, a key part of his act (it sounds like the sort of transformation for which Andy Kaufman was famous) was to come meandering out, looking lost and confused, and start a whining, incoherent monologue. He would then suddenly burst into a spirited dance that showed that the sloth and stupidity were nothing but pretense. Watkins makes the point that on the screen, there was no such transformation; Perry's sluggard, always performed with skillful languor, was the only role he got to play. He became the first true black movie star, and one of the first to have a studio contract. Like so many actors of his time, he spent lavishly and foolishly. Throughout his movie career, he would irritate studio executives so much that he would get fired from a movie or from his contract, whereupon he would go back to the road for work on the stage. He was criticized by the civil rights movement in the 1940s, and was unemployable because of it, although he could have made a comeback in drama in the sixties. He died in a home for Hollywood actors in 1985.

Watkins has provided a full picture of a complex man of real talent who used it in a timely way, a way that simply became unfashionable as times changed. Perry's aggressive demands to be treated (and paid) like white stars branded him a troublemaker. His fame opened doors for other black actors in less controversial roles, but his name stands for a now-regrettable image. This entertaining biography shows that there was more to him than the image.

This audio book surpassed my expectations! The life of Ed Feldman was wildly entertaining and Christian Hoff does an incredible job. I feel such an appreciation for the hard work of a producer and value each movie I watch that much more. I would like to thank Ed Feldman for allowing us to step into his life and enjoy his stories of some of our favorite actors. I couldn't of thought of anyone better to narrate than the brilliant Christian Hoff. How does he do that!John Wayne was my favorite.
I recommend this beautifully written story of Ed Feldman's life to everyone.

Ed Feldman has been a distinguished producer for many years. He spent several years in advertising, and various aspects of the motion picture industry on his way up, met many of the "greats". He tells his story in a lively and convincing manner. His "7 rules" extend beyond producing and can apply to many aspects of life. I particularly enjoyed his discussion of his meeting and marrying the girl next door.

I just finished, Tell Me How You Loved the Picture and really liked it. Feldman worked his way up the Hollywood ladder from pr guy to producer and has very funny experiences along the way. The book covers Feldman's Hollywood covers antecdotes from Liz Taylor to Jim Carrey filming The Truman Show. I've never read a better book for understanding what a producer actually does. I highly recommend Tell Me How You Love the Picture.

I've heard the book twice now. I obtained the CD set initially looking to hear Christian Hoff's Guinness world-record 241 voices, which are amazing, but I was treated to a wonderful story by publicist/producer Ed Feldman, with collaborators Tom Barton and Jimmy Merrill, as well.

The audiobook took me through the last half-century, concentrating as much on Bette Davis, John Wayne, Cary Grant and Barbra Streisand as on Harrison Ford, Eddie Murphy, Jim Carrey, and Glenn Close--with wonderful backstories about Murphy in "The Golden Child" and Close in "101 Dalmations."

The stories were thrilling, so much so that I sat in my parked car not wanting to interrupt the wonderful story-telling of the antics on the set of "Whatever Happened to Baby Jane?" or the casting challenge of Barbara Streisand in "Funny Girl." Christian Hoff brings Bette Davis and Joan Crawford back to life, and does a magnificent Streisand inflection.

And I also finally learned exactly what a producer does, as Ed (Christian) takes us through his own wonderful experience of producing Harrison Ford's and Kelly McGillis's "Witness", from having no major studio interest to 8 Academy Award nominations, including one for Ed himself.

I also finally learned what a "producer" actually does. Basically, he "fixes" problems and is the general manager of the film. One thing a producer doesn't do, though, is put his/her own money into a production! Funny, all these years, I've thought the producer was putting his/her monies at risk along with mine!!

But the best part of "Tell Me How You Love the Picture" is personal, describing how Ed met and married Lorraine, literally the girl next door in the Bronx as Ed was growing up, and how they've now been together for 53 years.

Great job, Ed, Tom and Jimmy. And absolutely marvelous story-telling and voice creation, Christian. These stories are a great and wonderful education in the movie industry over the past 50 years. Worth every penny.

Ed Feldman's "Tell Me How You Love the Picture: A Hollywood Life," written in collaboration with Tom Barton, is a fascinating, behind-the-scenes account of a Hollywood movie producer. Feldman, who started out in the movie business as a publicist for 20th Century Fox and worked his way up the ladder to produce big time, blockbuster hits, recounts in his book the tricky path that a movie producer frequently must walk between investors, studio executives, directors, actors and sometimes even puppy advocates in order to get his picture in the neighborhood cinemaplex. Readers, especially Hollywood movie fans, will enjoy the many humorous stories and delightful reminiscences about big named actors such as Elizabeth Taylor, Glenn Close, Jim Carrey, Harrison Ford and Eddie Murphy.

Since I enjoy acting and actors, I was given this book out of my grandfathers vast collection of books. I knew Katharine Hepburn was a popular actress, and Spencer Tracy stared with her in a few films. I had seen 'The Aviator' film about Howard Hughes, from Martin Scorsese. Cate Blanchett is incredible in her role as Katharine Hepburn. I'm so thrilled she won the Academy Award for her portrayal of someone who really didn't thankfully act like a star. She was just an ordinary person, and that is a great aspect of these fine actors. While this book only touches a little on that aspect of Katharine's life with Howard Hughes, it is the witty comments from Spencer Tracy and really a great friendship and love between this special pair of actors that is examined and admired here. Before reading 'Tracy and Hepburn' I read 'Audrey: Her Real Story', by Alexander Walker. The two Hepburn's are quite different and really don't have anything really in common. That isn't a bad thing at all. Except for the same last names, and acting in the Golden Age of Hollywood. 'Tracy and Hepburn' is a rare book. It is luckily authored by Garson Kanin, who has worked with and been wonderful friends with the acting duo, and neighbour to Katharine Hepburn for many years. Katharine certainly seems like an admireable woman and understandable risk taker. She, like her family isn't really content to just do nothing. She makes things happen. She also likes to skateboard and has even attempted surfing. Spencer Tracy and Katharine Hepburn loved to have a meal with friends at home and chat. 'Tracy and Hepburn' shows us a simplier life in those days. I didn't live through the Golden Age of Hollywood with all of these seemingly wonderfully talented people, but we should all aspire to be like them. I really haven't seen many Katharine Hepburn or Spencer Tracy films. I've seen most of the great 'Guess Who's Coming To Dinner', with the two of them. I've seen 'Boy's Town' with Spencer Tracy. I've seen Katharine in 'The Philadelphia Story', and 'Little Women'. That's really all I've seen of these two great actors. I am a fan of Humprey Bogart and Lauren Bacall and both love Spencer Tracy and Katharine Hepburn, so I was very glad to read about 'The African Queen'. Katharine Hepburn and Spencer Tracy keep it real. There isn't anything fake about them. I understand their appeal to others in the movie business, and those out of it. So I'm now a fan. I remembering prefering 'High Society' with Grace Kelly over 'The Philadelphia Story', but I'm certain to enjoy both films equally now. I'm not sure if I'd read another book on Katharine Hepburn or Spencer Tracy, but I'll never say never to it. I'm really not sure what would be the best aside from this book. I'm sure there are many that expand from this book, because Katharine is still alive at the end of this book. If there are any favorite books Katharine Hepburn fans enjoy please contact me and let me know. I'm very interested. I'm not sure if there is any truth about Katharine not enjoying the lack of privacy about her life in this book, but I'm sure nothing hurtful was meant by Garson Kanin writing it. He has captured these two real-life characters beautifully. Katharine also hated doing interviews but loved to travel and make plans. Keeping her life in order, and staying fit and healthy. She also loved to give gifts, but her birthday seems unknown. My Mum was born on the 12th May like Katharine so there's something special I can take from reading about Katharine Hepburn. I'm glad I share both Katharine Hepburn's and Spencer Tracy's love for acting. These two special people from the Golden Age of Hollywood are irreplaceable, but how fortunate and enjoyable for all of us that we can still watch them shine on screen. I love the immortality of cinema. Katharine Hepburn and Spencer Tracy really must be the best in the business. I'm so glad I've shared the earth with some extraordinary people. Thank you both for such happy productive lives and thank you Garson for recounting it for others to enjoy.

I enjoy this book immensely, but I wish Mr. Kanin hadn't constantly been upstaging himself throughout. One review I read of this book said (aptly, I thought) that the title of the book should have been called We Three. I'm sure that he and his wife Ruth Gordon were good friends of Tracy and Hepburn's; I'm also sure that Tracy and Hepburn had other friends they were close to as well. I do know that the invasion of privacy made Katherine Hepburn furious when this book came out - she refused to speak to Mr. Kanin for several years as a result. I don't know - the stories are good, but it puts a bad taste in my mouth all the same.

This is a delightful book filled with anecdotes about Kanin, his wife Ruth Gordon, and their relationship with Tracy and Hepburn. But, of course, no mention is made of the fact that Spencer and Katherine were having an affair and no hint of the "A" word (adultery). This is a cleaned up version of reality, but nonetheless ceaselessly entertaining. Tracy, however, comes off as he usually does: melancholy, dark, and troubled. Only Kanin's affection for him redeems Tracy in the reader's eyes. The parts about Hepburn are the real treat here; she must have been a riot to have as a friend.

And I've probably read it 12 times. Spencer Tracy's abrupt nature is described in great detail, but with real affection by Garson Kanin. By the end of the book, we understand why Bonaventure was more than just Tracy's middle name. Hepburn's unwavering love and willingness to put Spen-SAH first often seems hard to reconcile with her solid will and staunch intellect. Through Garson Kanin's eyes, we see why the couple's differences made for a fascinating life together, on and off screen. No slouch in the talent department himself, Kanin's asides on his and Ruth Gordon's antics with the formidable Tracy and Hepburn could make for an exquisite book, in and of themselves.

Garson does a great job showing off Tracy and Hepburn in this delightful book. You get to take a look inside Kate's life from a good friend of hers. Garson passed away in March of this year and he left many wonderful things behind. This book just being one. He also wrote several of the screenplays that Tracy and Hepburn stared in. This book is a must for all.

As an avid horror fan, I must say Vincent Price is the long-standing king of horror. When I think of horror movies, he immediately comes to mind. Finally, a book that specializes in the work of a true master who truly loved his work. Having recently purchased this, I look forward to mulling through its contents and watching the many films of "The Master of the Macabre." Long live Vincent Price!!!

True fans of Vincent Price don't really care whether or not we're watching something badly made like SCREAM AND SCREAM AGAIN or some auteur-approved masterpiece like TOMB OF LIGEIA. As long as Vincent Price is in it, hamming it up and acting all others right off the screen we are in hog heaven. It's a strange, fervid fraternity and way back when someone started calling us The Price Club and the name just stuck.

Denis Meikle has given us a book that clears up some of the myths surrounding Price's career, but he seems determined to create a new one, based somewhat on Victoria's great book. His thesis is that the McCarthy hearings and the "graylist" of which Price was the victim made him scared that he would never work again, so that afterwards, from the mid 1950s on, he consented to appear in any piece of schlock if the "price was right." Again and again he evinces this theory to explain, for example, why VP appeared as "Egghead" on TV's BATMAN. Price himself often stated that he wanted money to but more modern art with, but Meikle discounts this simple explanation.

I am the proud owner of a signed copy of Price's awesome book THE ART IN MY LIFE and I think that he indeed loved art and that he wasn't just "running scared" from the HUAC police.

But everyone deserves a forum for their views and Meikle makes a good case for his.

When I was a kid way, way back in the late sixties to the early
seventies I never failed to catch a great Price film on the late night Creature Features. This book is hard to put down.
Dennis Meikle does'nt white wash the Master of Menace, nor present him in any unfavorable light. All of Price's successes
and failings are told here in a very respectful manner. As a
matter of fact there were some parts of Price's life I did'nt want to know. This is the story of a great actor the likes of whom we will never ever see again. Well illustrated. A really
excellent book.

I just finished reading this excellent book on Vincent Price. It concentrates just on his work in the horror film genre which is primarly what he is remembered for. Denis Meikle follows Vincent's career chronologically film by film, giving details of the production as well as what was going on in Price's life at the time. While this is not an exhaustive work on this wonderful actor, it makes a great companion piece to his daughter's book "Vincent Price: A Daughter's Biography" which covers his personal life and Lucy Chase Williams' excellent "The Complete Films of Vincent Price" which covers all his film output. All together, these tell the story of one of the last true renaissance men. Recommended.

Vincent Price came into horror films by way of the studio system. His body of work is amazing, and he showed a fine sense of comedic timing in His Kind of Woman, with Robert Mitchum and Jane Russell, playing an OTT hammy actor. Later this tough for droll comedy would show in two gems - The Raven and The Comedy of Terrors. However, he really gathered attention in 1952 with House of Wax. After that wonderful performance, it was non stop fun all the way.

Many of his films were for William Castle or Roger Corman, and often considered Drive-In fodder - such as The Fly, The Bat, House on Haunted Hill. It was the series of Poe movies that firmly linked the word horror to Price - and I think it was a term he enjoyed completely. At the time the Corman-Price-Poe series of movies - The Pit and The Pendulum (with Scream Queen Barbara Steele), House of Usher, Tomb of Ligeia, Masque of the Red Death, Haunted Palace (which was really Lovecraft not Poe, but what the hey...) were often dismissed. But looking back, you will see finely crafted horror films that are still a pleasure to what now, with many of Price's wonderful performances.

Even later, he continued to seek out this same spotlight with the campy Theatre of Blood and the Dr. Phibes duo of films or the more serious Cry of the Banshee and Conqueror Worm (one of his most underrated performances).

He scared us with a gentle boo, mesmerising with that voice, thrilled us with the wondrous menacing laugh, enchanted us with his devilish twinkle in his eye...he entertained us cooking fish in his dishwasher on Johnny Carson.

His legacy lives and this is wonderful tribute to the master! Loaded with pictures, it is a must for Price fans.

Probably the only work available that pairs a film scholar/interviewer with the masters of the screen. Obviously a must for any film enthusiast.

VOICES FROM THE SET is a MUST READ for all film historians, film students and cinephiles. Macklin gains amazing insight into the working lives of such screen legends as The Duke, Altman, Beatty and Peckinpah, all captured in rare form. This is an excellent read.

When teaching film and television in Los Angeles, I had the luxury of having top industry professionals visit my classes. This is simply not possible at universities distant from the major centers of production. However, with Tony Macklin's unique and special tome, I can have many of the all-time greats "visit" my class anywhere. VOICES FROM THE SET will be required reading for all future "Masters of American Cinema" courses I teach-- anywhere...ever.

Voices From the Set is Tony Macklin's collection of interviews from the magazine he edited, the Film Heritage series. Exploring an underappreciated era in film, the early to mid 1970s, Macklin gathered interviews with directors, actors, producers, writers, even film critics who blazened a trail for independent cinema between the twilight years of the studio system and the birth of the blockbuster. The book is meant to be savored one interview at a time, and should give you a great list of films to rent if you're not familiar with them. In his introduction, Macklin calls this particular group of interviews "precious cameos that gain more value as time passes." His discussions include several maverick filmmakers still influential today, such as Martin Scorsese, Robert Altman, Sam Peckinpah and Warren Beatty. Voices also captures the essence of legendary directors and actors Alfred Hitchcock, Howard Hawks, Charlton Heston and Macklin's favorite, John Wayne. Macklin artfully probes below the surface and discusses the artists' feelings and visions, not just dry facts and dates. In the Scorsese interview, Macklin asks him for his opinion on "the new Hollywood" during the early to mid '70s. Scorsese talks at length about this group of influential filmmakers graduating from universities, himself numbering amoung them. He succinctly sums up the era and the reason for reading this book: "They [the old Hollywood] took it as a job...we come in from a whole different level...The old day is dying out, and there is a new Hollywood..."

Tony Macklin's collection of interviews, Voices from the Set, provides us remarkable reflections by some of Hollywood's greats--reflections of a Hollywood balanced at the crossroads of its artistic Golden Age and the modern-day blockbuster. Macklin's interviews with such influential film greats as Hitchcock, Altman, Scorsese, Heston, Hawks, Peckinpah, Wayne, and Beatty give us a fresh look at many of old Hollywood's most powerful, while providing us a peek at some of new Hollywood's up-and-comers.

Macklin, in skillfully eliciting responses that are compelling, honest, and human, allows us to witness a side of Hollywood that is rarely seen. Voices from the Set's subjects are willing to talk to Macklin, and Macklin is willing to give us the full transcripts of his interviews. No sound bite answers here. Macklin asks the tough, thought-provoking questions and we are rewarded with direct, insightful answers.

Both fans and students of film will not be disappointed in this book. Virtually every interview in Voices will sing to you.