Entertainment Books

I was amazed at what an excellent writer Michael J. Fox is -- his story was candidly written with insightful accounts of his incredible journey. I was also impressed that the proceeds from the book all go to research for a cure for Parkinson's disease. Way to go, Michael!

I bought this book on the recommendation of my Medical Terminology teacher. We were discussing neurological diseases and when we got to Parkinson's Disease (PD) she mentioned that she had read his book and how much she enjoyed it. So I got it. I was not a huge "Family Ties" fan but I have paid attention to Michael J. Fox's career especially of late since his disclosure of having PD. In the last few years he has been on a show here and there as a guest. He was on Boston Legal and I thought he was superb! You could clearly see that the camera did not stay on him very long but his acting was top-notch nonetheless.

That said, his book is written with extreme openness, heart and humor. He has such a wonderful outlook on life especially in the wake of learning he has PD. He writes from a place that we wish more stars would be able to go - the very sincerest depth of his being - so much so that I found myself in tears a few times as I read. He writes as if he were telling you, the reader, the story in person. He is himself more in this book than I've ever seen him in an interview on TV. This is a very true, revealing, heart-warming story that definitely gives the definition of what it takes to be considered a Lucky Man today. I highly recommend the book.

Michael J. Fox opens his 2002 memoir in late 1990, in the moment he first notices the pinky-finger tremor that leads, a year later at age 30, to a diagnosis of Young Onset Parkinson's Disease (PD).

Then he backs up for a hundred pages to describe his growing-up years in Canada and rising-star experiences in Hollywood -- including an interesting theory of "celebrity" (that it is a gone-haywire extension of the suspension of disbelief/emotional connection that are required of an audience during a performance). He devotes chapters to his PD diagnosis and treatment (including his concealment of it) and to his descent into career and personal crisis. Though it seems PD would top his list of problems then, he notices it doesn't even make the list which includes alcoholism. Fox finishes by describing his redemption, his "coming out" about PD, and his work toward PD research.

The memoir's structure and writing exceeded my expectations and I wondered about a ghostwriter -- until I read Fox's acknowledgements, where he mentions the writing of it and thanks his writing-mentor brother-in-law ... Michael ("Omnivore's Dilemma") Pollan! Lucky Man is an informative, engaging, and insightful memoir.

I wasn't sure what to expect from this book. Would it be just about Michael J Fox's life or would it center too much on his Parkinson's disease. I'm not usually big on reading celebrity autobiographies and memoirs.
This one is definitely worth reading! Mr. Fox shares his story with humor and humility and a wonderful honesty. He speaks honestly about his struggles with Parkinson's and trying to hide it in order to continue working. He also speaks honestly about his personal struggles with alcohol and depression. But the struggles don't dominate the book. There are many fun anecdotes about his years growing up in Canada and about the world of acting.
In the end, what made the biggest impression on me was his gratitude. Gratitude for the life he was able to have as an actor, for his family, and ultimately, even for the disease that changed his life.
This is a book that I would recommend for anyone who is interested in celebrity biographies. And I would especially recommend it for anyone who has Parkinson's disease or has a family member or friend who has this disease. When you have a disease such as this, it can be difficult to articulate to others just what it is you go through without sounding sorry for yourself.
Now when I need to explain this to someone, I can just hand them this book and say, "READ IT. NOW."
Thanks, Mr. Fox!!

Michael J. Fox's memoir "Lucky Man" is a great and inspiring read. One thing I admire about Fox is that he's basically an average guy who was dealt some wild cards and has managed to thrive in life - including, not in spite of, his circumstances. One thing I found consistently striking and inspiring is Fox's courage throughout all of his life experiences to be true to himself. In some instances, this meant following his natural instincts in his career, and in others it meant hiding his disease from the public as a delicately-timed and balanced lifestyle. His honesty and lack of pretension is also refreshing; he talks not only of the Hollywood lifestyle he had when his career took off, but also of his self-doubts and fears.

If you were also inspired by this honest perspective on enjoying life to
the fullest, I highly recommend the books Being Here: Modern Day Tales of Enlightenment, as well as Working on Yourself Doesn't Work: The 3 Simple Ideas That Can Instantaneously Transform Your Life, by Ariel & Shya Kane. The Kanes talk specifically about living in the moment as a way of discovering magic in your life - how to do it, how to not do it, and how it is easy and effortless. In his book, Fox talks about how "his 'job' is whatever he happens to be doing at the moment - whether it's giving a speech, changing a diaper, writing a book," etc. If you'd like to discover a sense of truly being here for each moment and living your life as wholly as possible (without having to experience a major tragedy or disease), look no further than these wonderful books.

My 13 year old daughter is at an intermediate piano level (level 3-4) and wanted to play something more contemporary than the piano methods, or classical scores, or the NYSMA selections. She liked the songs from High School Musical 2 better than the first, and asked me for the music. This songbook sounds authentic. The transcriptions play nicely and sound like that used in the movie. My daughter is pleased that she can now play songs that her schoolmates recognize and can sing along with.

I bought this for my 14 year old son, who is taking piano lesson's, and loved the movie's. He was very pleased with and is playing from this song book.

For writing this beautiful book. I've been a fan of Johns work pretty much as far back as i can remember. i was only 9 when John passed on so i never got to see him perform live or really enjoy his work when he was here on this earth. I found this book to be a true showing of what John was like and what a good man he really was and not always this train wreck like the press (and another certain author who shall remain nameless) perceived him to be. you can tell that he was loved by many and that his death had a profound affect on many and that his work will be loved for many more years. If you are a fan of John you need to read this book!

John Belushi, a man of laughs, a man who lived for an audience's
approval and cheers, John Belushi was an entirely respectable man and deserved to be remembered as a man of great worth among friends and colleagues, this book harrowingly displayed him as both, they did not write from a biased point of view, but rather from many perspectives, of friends and family. Every comedian should allow the utmost respect for such a spectacular man, John, may you rest in peace, knowing that all of your fans will remember you forever, we love you.

I was in the library a week before surgery looking for light fiction to tide me over a week of recuperation, when I saw "Belushi" sitting on a new non-fiction shelf and picked it up on a whim. I never got to the fiction.

Well-collected and organized first-person interview quotes, personal photographs, behind-the-scenes stories...this is a wonderful, yet cautionary, tale of the 1970's in America. I laughed out loud; tears came to my eyes. Thank you, authors.

Disclaimer: John Belushi was born in the same hospital (a few years later) as I was; one of his father's restaurants was two blocks from where I did some of my growing up; I was in Second City audiences while John was there; I've watched SNL faithfully since its first year; I saw even John's bad movies. Prejudiced I am-this is still an admirable, accurate, caring biography.

Most if not all of the facts of this book will not be new to John's fans. Especially those who have read the eight-or-so books already written about or by him and his friends and family.

And, title aside, it is not really a biography; it is an oral and pictorial history. But that is its strength. The voices of those friends & family come through, showing their love for the man.

But the interesting thing is, as awesome as some of the stories may be (especially to those who haven't read them before); the pictures do an even more excellent job.

Some of the photos were previously seen in SAMURAI WIDOW and WIRED, but most are never before published. And in them, you can see the buildup from Belushi's boyhood through the first three years of SATURDAY NIGHT LIVE. Then the explosion when that show, ANIMAL HOUSE, and the Blues Brothers record all hit at the same time.

And then the fallout. Visually, I think you can mark the moment when the road turned hard for John; it's in a full-page picture, on page 172, of him in costume for 1941.

It's in his eyes. Look at most of the photos that precede this one, and there is a light in them, something that's growing, some kind of spark.

And though it's probably too simple to say that Hollywood stunted that growth and killed that spark, it's also, probably, accurate.

Because in most of the post-1941 photos, that spark is gone, with only a brief resurgence in the pictures taken during the filming of CONTINENTAL DIVIDE.

This was apparently a happy (if not always fun) time for John, and the pictures reflect that. Unfortunately, more so than the movie, which is enjoyable but instantly forgettable.

The key picture here for me is on page 222. It shows Belushi wrapped in a blanket, sitting on some cabin steps in his stocking feet. He's just sitting, and staring, and thinking of god knows what, but the image has an apparent vulnerability that the photogenic John rarely showed in pictures. He was a man who always seems to have known where the camera was and how to keep its eye on him. Not here.

But CONTINENTAL DIVIDE flopped, and in the photos that follow, he mostly looks wasted. I don't mean that with the drug connotation, I mean that spark was being denied again.

A note at the end proclaims, "This book is not objective," and it isn't, so bully for them for admitting it. It's an attempt to bring a loved one back to life by talking about him.

Beautifully done...and now I really know, right from the start, how wonderfully talented John was. If you lived his fast paced life with tremendous pressures and being the best he could possibly be, you'd probably be hitting some drugs, too. Lets focus on who the man really was and about all of his close friends who really loved him. Judy Belushi Pisano does an excellent job putting this book together. What a talent she is a fantastic achievement. I couldn't put this book down and I have the rings on my ass to prove it !!! Now John would have appreciated that comment !

If you want to know anything about Keith it is in this book!! Very well written and detailed.

This is a great book that explores Keith Richards extraordinary body of work. Although I have been a major Stones fan since 1964 I learned a great deal about the history and dynamics of the Stones. Keith is a tremendously gifted individual and I found it fascinating to read about his difficulties with Mick Jagger and his strong belief that the Stones must stay true to their musical roots.

In the last few years rock music biographies have come of age and many are well researched, full of insight and show a real and objective understanding of the artist in question. Victor Bockris' study of one of the most important icons of the 1960's unfortunately falls far short of what I've come to expect.

The book reads like a lazy retread of thirty years of news clippings and has very little insight into what actually made the Stones become the greatest rock'n'roll band in the world. He's good at knitting together a constant series of quotes and old interviews into a below average narrative but seems to be unable to actually have any real understanding of the people behind the words.

With less than a quarter of the book dedicated to the years when the Stones actually had some validity and almost half of it dedicated to the incredibly tedious 'heroin' years Bockris misses the whole point of why a book about Keith Richards should be written. One unproductive junkie is just like any other and I don't need nearly two hundred repetitive pages to get the message. As another reviewer has rightly pointed out, the author seems to have an unnatural admiration of Keith's heroin addiction and completely fails to comment on the fact that it neatly coincides with the band's rapid creative decline.

I can only hope that the next four hundred page book on one of popular music's most influential guitar players will have three hundred of them covering the period of 1964 to 1971 with the remainder dealing with the following thirty six years when the Rolling Sones simply ceased to have any relevance.

I doubt Keith could tell his OWN story this well (in fact I doubt it very much). This book really seems to give the whole picture. It is well worth the expense.

Particular highlights: (1) VERY detailed information about Keith's drug use history. It is amazing the man is still alive; (2) VERY detailed info. about Ron Wood, his own problems and his role in the Stones; (3) Very detailed info. about Keith's solo career. I just wonder why the Winos broke up. Anyway, if you are a fan of Keith or the Stones you simply can't pass this book up.

Victor Bockris appears to be, to some degree, the king of the classic rock biographies. In this book, he turns his eye toward Rolling Stone Keith Richards, and his tumultuous life in and out of the band, as well as those around him like Anita Pallenberg and Mick Jagger.

Merely as a biography, this is pretty good. Bockris intersperses the ordinary biographical info with appropriate quotes from Keith, Anita, Mick, and many other people. He accentuates the good and the bad in Keith, the stuff about him that even he didn't know, and his attitude toward the public, his son, his wife, and so on.

And some parts of it don't really seem to work. For example, the information on Anita talks about how brilliant and strong she was, and emphasizes that she could have handled Brian Jones on her own. But she kept getting hit by Brian, and later Keith; she doesn't seem to have been able to handle it. And intellectually, her quotes include things like, "She was really, like, totally self-obsessed." Really totally? Maybe it was the heroin. And Bockris seems a little enamored of Keith's time as a junkie, because we hear a lot more about that side of his life than any other part of it.

The photos are definitely a disappointment. There is one per chapter, and usually it's a rather dull shot of Keith looking pensive, or just walking, or sitting, or signing things, or something of the sort. There are a couple of Anita or Mick, but not of many other people (for example, where is Marianne Faithfull? Bianca Jagger? Marlon? Dandelion?). As a result it's slightly difficult to form a clear picture of some of the interactions.

"Keith Richards: The Biography" is a pretty good rock-star bio, focusing more on the life of the subject than what the groupies said about him. Certainly for fans of the Rolling Stones and classic rock.

I found this to be an excellently researched book covering the lives of the artists known as Impressionists. It went chronologically, with stories of their work, their families, and what was going on in the world around them that affected their ability to make a living at their art. It wasn't boring in the least, and let the reader get a clear picture of the personalities and characters of those struggling artists who are so well known to us now.

An excellent work. The author has captured the feeling of each artist and the lime they lived.A must for all those
interested in the impressionists.

One of the great benefits of living where I do is the opportunity to take in great art. A reasonably short train trip lands me in Manhattan and I'm able to go and gaze at the glories of the Metropolitan Museum of Art. One of the huge draws of the Met are the galleries of paintings by the artists of nineteenth century France and the movement known as Impressionism. Filled with light and colour, these paintings caused mockery from the critics, outrage, and yet were still able to find a market -- and one that has become even more so in the modern world, where Impressionist paintings fetch prices in the millions of dollars.

In this narrative group biography, author Sue Roe explores the lives of the leaders of the Impressionist movement from 1862 to 1886, the most troubled -- and most prolific -- years that these artists shook up the rather staid art world. Each artist is given a bit of a brief biography, and some of the details of their childhood and early careers, along with the women they married and their struggles for either money or recognition or both.

She begins, naturally enough, with Edouard Manet, and his painting, Le Dejeneur sur l'Herbe first exhibited in the Paris Salon in 1863, and which caused outrage. It wasn't a biblical or historical subject, or a portrait, or even a landscape. Instead, two modern Parisian men are sitting out of doors on the grass, with a naked woman. And she's being bold about it, staring out at the viewer with a frank and somewhat amused expression. His next painting, Olympia, had the same naked model, this time as a grand courtesan in a modern setting, and this time, the critics really screamed in horror. Other artists were pushing the limits with experimental work that played with light, such as Claude Monet, Camille Pissarro, Edgar Degas, Auguste Renoir and Paul Cézanne. Two women would join the Impressionist circle, Berthe Morisot (she would marry Manet's brother in time) and Mary Cassatt. Shunned by the judges of the Paris Salon, they would eventually stage their own exhibitions, with varied success.

What makes this one different is that Roe takes a look at the lives of these people outside of the art. She looks at how they met one another, their marriages and children, how the outside world treated them. Most of her attention is focused on their financial and marital world. The popular idea of an artist struggling and slowly starving in a garret, fighting the world that scorns them, probably grew out of these lives, if Roe's information is any indication. With a few exceptions, nearly every artist in this story is going broke in a big way -- there are vivid details of their private lives, the quiet frustrations of their wives trying to raise their children on nearly nothing, and especially the choice that some of them took to paint more popular paintings that would make them money, and so, survive.

It was this constant focus on the lack money and the descriptions of poverty that really struck me with this nonfiction work. Again and again Roe focuses on the subject, and seems to take delight in describing the misery, from the Franco-Prussian War and the Communard uprising that soon followed, the disputes that Cézanne and his father had over money, and the constant borrowing and pleading for cash. What with all of the whinging going on, I wonder how anyone had time to paint...

And that's the disappointment of this work. The narrative has a very gossipy tone, and Roe continually focuses on the negative aspects of life. After a while, it became rather tedious to read about, and combined with the fact that she had so many leading characters necessarily leads to everyone getting a little piece of the story, and not too much lead time. I came away with a good perspective and idea of the time range of the Impressionist movement, but I also came away with not really knowing a great deal about any of the artists. If I had not already read some fictional and nonfiction works about Manet, Morisot and Cassatt, I would be heartily confused. Too, Roe mentions various paintings and works, but then doesn't have any pictures of them in the two photographic inserts. It all comes across as very confusing in the end, and while the book does have some positive aspects, it's not one that I would recommend for casual reading.

If the reader already has some knowledge of the Impressionists, this would be a good gateway book to spur some interest in more specific artists, but it really doesn't reveal anything new. Along with the two inserts of paintings, small black and white pictures are at the start of each section, along with two maps showing Paris and the surrounding countryside during the period. Plenty of notes and a bibliography and index complete the book.

Overall, this is about a three-four star read. It's worth reading once, but it's also one that I don't think I will reread any time soon. Which is a pity. So this is not a book that I would recommend, despite giving it an overall rating of four stars.

It is to Sue Roe's credit that THE PRIVATE LIVES OF THE IMPRESSIONISTS is not a fun or funny book.

Ms. Roe is a serious scholar and she has written a serious work.

Writing a definitive biography of even just one person is a huge and somber undertaking...writing an anthology about an entire discrete group is almost too huge to comprehend.

Yet because PRIVATE LIVES is not fun in no way negates its worth.

Sue Roe has assembled the ultimate work on those artists who coalesced to form the movement now well-loved as "Impressionism."

She explains the history of the movement, and how reviled it had been by the establishment. In the process of this explication, she also tells a great deal about the moment in which this movement came to life, at the precise time of the transformation of Paris from a patchwork of farming communities to a cosmopolitan city.

She does as good a job of detailing the Franco-Prussian War and the Commune as I have read anywhere.

Roe has done enormous research on the personal lives of the most important of the artists, and of their joint struggle to be accepted for the type of imagery they were trying to display.

It was startling to read that the great names of Impressionism considered themselves to be cohorts and supporters of one another.

I didn't have fun reading THE PRIVATE LIVES OF THE IMPRESSIONISTS, but the time spent was worthwhile. The book was everything that I hoped it would be: A true learning experience.

The title of the book is misleading. Most, like me, would believe that it is about the various affaires des coeurs of the Impressionist painters. But it is far from that. It is an insightful look into the struggles of the impressionist painters during the years of 1860-86; this was before they became famous.

The book covers the lives (intimate or otherwise) of the better-known impressionists such as Monet, Manet, Renoir, Degas, Sisley, Cézanne, and Pissarro and the not-so-well-known painters who were in their company Berthe Morisot, Frédéric Bazille, Mary Cassatt and Gustave Caillebotte. The author describes how these painters tried to break the rigid moulds of the Académie des Beaux-Arts, which controlled the technique and subjects of mainstream painting in France.

The author described many of the better-known and the not-so-well-known paintings in such an anecdotal form that the reader is forced to have a look at those paintings somehow (in a coffee table book or online). She brings alive the characters who had posed for the paintings that give a greater depth to the work.

The author has researched this period well and one not only gets an insight of the lives of these painters but also of the world around them. The reader can literally visualize the gradual realization of Haussman's vision of Paris, or the soirées and evenings spent in cafés. The Franco-Prussian War (1870-71) and the siege of Paris are also described in detail - it led to tremendous upheaval in the French society as also the lives of the painters - a large amount of their output was lost during this war and the sense of loss is transferred to the reader.

The author manages to intertwine the lives of the painters - the individuality of each painter is maintained even though all are presented as a collective. Despite the fact that so many characters are being biographed, the author doesn't leave the reader of being overwhelmed with the plurality of characters.

Use of exact addresses and trivial but minute details such as a `thirteen-minute stop for hot chocolate' (238) which Eugène Manet made on way to Paris from Nice. Though the use of French words was rather limited despite the fact that the setting and the painters were French. Most words can be understood from the context - However, some words (cocottes, arrière pensée) do require a bit of looking up to understand the true import of the sentence.

Gabler lays out his controversial opinions about culture in America very clearly in this book. You may disagree or agree with him, but the book is worth reading either way. Could be very useful for any college students writing about media.

A good, often acid analysis of "entertainment state," Gabler's main thesis is that under the influence of the movies and the concomitant rise of the consumptionism, we have created an entertainment state where everyone is constantly considering how their performance is going -- which amounts to a new kind of discipline as Foucauldians might say. Further, these "roles" require props (material goods), which in turn supports the consumer society and the entertainment state at the expense of nearly everything else. To lay the basis for his theorectical claim, he cites the early 1960s thinking on the phenomenon of celebrity and the changes it has wrought in the American psyche. Here cites Boorstin's "The Image," and Riesman's "The Lonely Crowd." But he's not averse to cites postmodernists to serve his thesis, Umberto Eco, and Baudrillard come in for brief insights, too.

Some might say Gabler overstates his case. Have we really become so infused with "lifies" projected at us on a billion screens that we no longer know where we begin and where we end? Compared to the post-mods who can't resist hyperbole and grand gestures, though, he grounds his case historically, culturally and economically. Moving from a quick periodization of the rise of mass entertainment in the U.S. in conjunction with Jacksonian era during which elitist amusements were challanged and overthrown -- in 1849 29 b'hoys in NYC were killed during a riot where protested the English actor MacCready's reading of Shakepeare as a disparagement of the American style of Edwin Forrest -- he shows how entertainment has always been contested terrain. He also suggests that popular entertainment and diversion are as American as apple pie with supporting examples of the popularity of the political speech, the Great Awakenings, the Lyceum and Chatauqua.

Most chilling is his description of the two Americas: those who live behind the glass (TV) and those who don't, and how those who don't know that because they don't live behind the glass are lesser citizens. That people fight to obtain some type of stardom, or at the minor forms of celebrity, that CEOs now bestride the world like Hollywood stars of old, that brands now have personalities, are cited as evidence of celebritization of the world. The section of the dark side of celebrity-seeking -- e.g. Mark David Chapman, the Unabomber, and Arthur Bremer -- is effective in showing how these individuals' quest for celebrity was rewarded by the media in wall to wall coverage. The slippage of mainstream media into the gutter once occupied by the tabliods is also of related interest, though it cites the usual examples: e.g. Gary Hart, Monica, O.J.

Gabler's larger point is that all these "lifies" take up space in our collective consciousness, that they distract us, circumscribe our lives by setting norms, casting us in roles, and both limit and expand whom we might be and how we might behave: the affable talk show host, the news anchor, the family man, etc. These norms and role models now live behind the screen, he says. There is no "backstage" where we think our private thoughts and a "frontstage" where we interact with the world. It's all "frontstage." Observe an average Californian for awhile, he suggests. Steeped in movie and entertainment culture, they have no "backstage."

Gabler cites evidence that those who have ability to positively delude themselves, to "act" as if they are the center of our own postively scripted, headed- toward-a-happy-ending movie, do better in their lives and occupations. He notes that Prozac's popularity may be connected with this phenomenon. All in all a good, solid, and dare it be said, "entertaining" book.

Remarkable and lamentable by what it manages to ignore this work
is more an example of what it tries to describe than an implement
for its understanting! That Gabler manages to write a book about
the spectacular engulfing of the everyday without engaging the
views of Guy Debord, Herbert Marcuse, Goddfrey Reggio, Georges Perec, Vince Packard or David Riesman is in itself a testemonial of how entertainment effectively compresses the depth of any analysis of its effects to a waffer thin prespective! What is advertised as revelatory soon is revealed as the author's emphatuation with his own subject. Wwept by the uncontainable wave of superficiality that he purports to denounce, Gabler is already a stand-in in the movie called Life, the delusion he
fully welcomes in his naive reconning...

This is an absolutely fascinating look at the notion of entertainment, as it evolved as a form of popular culture into a political and even life compulsion. From the beginning, I was rivetted by Gabler's wonderful writing and unusual ideas. You can read this many times to great profit.

Gabler begins with a definition of what entertainment is: as opposed to the high art tradition, which requires elite education and effort to "get" it (e.g. to "properly appreciate" Opera), entertainment emerged as a democratic impulse soon after the beginning of the 19th century. Rather than high brow fare for esthetes, entertainment brought an immediate sensation of pleasure to the masses and a sense of losing oneself in a story without preparation. WIth the development of technology, Gabler continues, entertainment entered the news, particularly as images, but also as exciting stories, first in the penny press and then in film and finally TV. The penny press brought news to the masses at a price it could afford, largely replacing the elitist partisan editorials that cost 5 times as much in Jefferson's day. The trick was finding the right hook for less educated audiences, to get them into a narrative with which they could identify personally. This history is told in splendid detail, in a well spring of ideas that makes the reader (or at least me) want to research a lot more into this.

From popular culture, Gabler then argues that the need for entertainment created a kind of bizarre feedback loop, according to which it must be manufactured, even when it does not exist. That means that reality is made to fit the story, not the other way round. This leads not only directly to celebrity - those who are famous for being famous more than for having accomplished anything, e.g. Zsa Zsa Gabor as a "personality of glamour" - but also to a transmogrification of the news and even politics, particularly with Ronald Reagan. Rather than pondering complex issues, Gabler believes, the public now wants flashy stories, mood, and outsized personality. As such, he posits, Reagan could say it was "morning in America" while ignoring pressing issues, keeping the public lulled - diverting them - by spin and PR. This Gabler sees as a significant problem in our body politic and I would agree: who doesn't feel disgusted with the way the news media examines politics as a horse race rather than help to analyse the problems that politics should solve? As Gabler says, what reporters tend to report on is how campaign tactics get people to react. It is a bore.

In another example, Gabler tells the story of when doing a story on Christie Brinkley's lifestyle in her new Long Island house, House Beautiful journalists arrived to discover that she had not yet moved in or even decorated it. No problem! Without her approval, they hired an interioir decorator to "do it" for the interview photographs, and Brinkley liked it so much that she kept it. That is what readers, in Gabler's view, would take for a reality to model their own lives on!!

Or alternatively, we get celebrities "writing" books (with a little help from expert word smiths) that get attention because they are who they are rather than what they have to say. You even find public intellectuals taking outrageous positions because it will get them attention, as Gabler argues Camille Paglia has done with her attacks on feminism. In my reading, this is what gets thinkers like Steven Pinker to argue that parents have no impact WHATSOEVER on their children's personalities, whom he argues both learn more from their peers and whose behavior is primarily genetically determined. That argument is outrageous to parents, but it gets him ample media attention. The issues, even the truth, are secondary to entertainment value in this view.

To conclude, Gabler argues that we are all now seeking to create lives that are entertaining, drawing our own narrative in a kind of "mediated self"; the sources of these, he says, are film, celebrity journalism, and over-hyped "news". Reality, in his view, matters less than the idea one can make and maintain of one's life story; while this flatly contradicts Frued's "reality principle", perhaps it is possible now for people who live in a bubble of affluence.

Of couse, my description cannot do justice to the subtlty and elegance of Gabler's argument. This is extremely heady intellectual stuff. While I believe that he takes the argument too far as intellectuals often do when creating a new metaphor, the book is so dense with ideas and frankly so right on the money that it is worth a careful read.

For example, in my own work researching business, this argument is extremely relevant. I have been in many companies whose marketing strategy is to develop a kind of narrative for the consumer to enter, either to imagine they belong to some "tribe", or as a feeling of taking part in something bigger than themselves, or simply a series of products that evolve as a story progresses. For example, Ducati is making motorcyles that recall the company's past glory in races: they are still excellent bikes, but they also evoke an experience of belonging to a story, complete with accessories, the periodic appearence of Ducati bikes in films, etc. This is also true of Disney self-reinforcing multimedia marketing (characters in film and parks = buzz, which sells toys), LEGO's bionicles, Alessi's quirky appliances that bring art into the home, and any number of other companies: they are in part manufacturing an alternative reality, an experience (of entertainment), that is to be found in how we describe ourselves to ourselves.

This book has allowed me to articulate this to myself in a new way, though I must sift through the ideas in my own mind over time. I am sure that anyone interested in culture, politics, or business will feel the same way once they have read this book. This is delicious brain food.

Warmly recommended as an outstanding intellectual adventure. This is a masterful essay that consolidates a huge range of research, including updates of Neil Postman, Marhall McLuhan, Daniel Boorsten and many others. His prose is unusually dense and vivid. A final thing that I should add is that, while Gabler is very critical about these developments, he states very clearly that he wants to stimulate debate rather than offer prescriptions - he admits he has none.

Gabler has written about an age where collective narcissism finds its outlet in a culture where cinema represents our highest reality, where the movie screen projects all our unfulfilled fantasies. His thesis is that we have become actors, either unconsciously or not, and that as such events are contrived and/or interpreted as being "cinamatic." We all want to be the stars of the movie, that which is life.

Another important theme is that entertainment has trumped substantive knowledge in the media currency so that we are well entertained but grossly underinformed.

He quotes from and praises Neil Postman's Amusing Ourselves to Death, a fine companion piece to Gabler's Life: The Movie.

it came in good condition.havent had a chance 2 read it but i'm sure its good like the least of the books.

I love the show, love the book, love 'em all!!
I loved the detail of the book, made me feel like i was there.
for sure I'm ordering more books from charmed. love this!!!!!!

Leo can't find the Charned ones, he has Wyatt and newborn Chris. I read slow.

GREAT READ - IN TRADITION OF THE AWSOME SERIES THAT SADLY ENDED IN 2006. THIS IS A GREAT ADVENTURE AND KEEPS YOU INTERESTED. I DEFINATELY RECOMMEND TO ALL PIPER AND LEO FANS. WOULD HAVE LOVED TO SEE THIS AS ONE OF THE EPISODES IN SEASON 7 OF CHARMED.

I've read my fair share of spin-off novels in order to get an extra taste of a favorite movie or TV series. You take them with a grain of salt, knowing that they won't exactly be Shakespeare or even up to par with the original work. So, imagine my delight when I picked up this book (the first I've read of the Charmed series), and discovered a very well-written novel that is incredibly faithful to the canon (most delicate of all being the characters and the Charmed universe). Leo (my favorite character) is newly mortal and dealing with Piper's over-protection, when the sisters are kidnapped by a mad scientist. Leo summons his adult sons from the future to help him unravel the mystery and rescue the Charmed Ones. It's a story with enough character and mystery that it could easily have been a strong episode of the series. It could have used more drama and play between Leo, his sons, and Piper. But still, an excellent spin-off. Grade: A-

Speaking as another graduate of the Neighborhood Playhouse who actually studied with Sandy (as well as continuing to study with him in his private class after graduation), I had some reservations about Larry Silverberg's book. Acting is experiential, not intellectual. Larry Silverberg implies that Sandy's technique can be learned from a book and practiced by amateurs. That was never Sandy's intention. Learning the Meisner Technique is an organic process that requires the guidance of a trained teacher. Preferably, this should be someone whom Sandy actually trained as an actor and as a teacher.

The problem with expressing "the reality of the doing" in writing seems almost self defeating. To put it bluntly, you've got to do the work. Sandy once said, "You know those books, AN ACTOR PREPARES and ACTING: THE FIRST SIX LESSONS? Tell you what, you learn to act and then read those books to see if they knew how to act." Read Larry Silverberg's book and SANFORD MEISNER ON ACTING to see if this is the Meisner Technique seems to suit you. Then you will need to make the commitment to study and learn first hand. Be warned, it requires talent and hard work.

The vital issue is to acquire a viable technique to be able to work on a professional level. Sandy's technique is time proven, providing you learn from the right teacher. Above all, Sandy knew that acting can be painful at times and the actor's life is a hard one. However, he wanted acting to be a healthy process. "Acting is fun," he used to say, "don't let that get around." It becomes fun when you begin to know what you're doing.

Just remember, that reading about the process is not the same thing as doing the work itself.

For the record, Sandy Meisner was the greatest teacher of any subject that I ever encountered in my life. He was truly one of a kind.

Being from Toronto, I have always had a keen interest in Rick James' career. Toronto is where he really started on his musical journey.
I waited a long time for this book and when I got my hands on it, I couldn't put it down.
I liked the honesty, candor of Rick's writing: he put it all on the line, the good and the bad. Great insight and details, along with lots of fab pictures, complete the portrait of the man. Almost.
Some things that the book missed: Rick's embrace of Islam while in prison; it would have been interesting to know how that happened and why. As mentioned in a previous post, I wanted more on Rick's view of rappers using samples of his songs, especially MC Hammer. We don't know how Rick really felt about rappers and contemporary urban / rap music.
In addition to the discography at the end, it would have been nice to see the chart positions of his albums and singles / re-mixes. Maybe a list of awards would have been a nice addition, too.
Overall, it is an intensely personal and intimate memoir of a man who led an extraordinary life. It is bare, raw and real. Totally refreshing.
Thanks Mr. James for the music and the memories. R.I.P.

This was a great book. It's wonderful to read about the life of such a great talent. His life story tells so much about his music and influence on his lifestyle. Then it's NO HOLDS BARRED! He doesn't omit any names in the Hollywood life of sex, drugs, and rock and roll.

Rick was something else. While I enjoyed his music, his writing was concise and entertaining all the way thru and I really enjoyed the pics.
Great insight into a musical genius the likes we may never see again.
DJ
Stockbridge, GA

After doing some (in-store and online) price comparison, Amazon's prices are definitely the better bargain "hands-down".

If you like Rick James this book is highly recommended. It is a book you will not be able to put down.