3 comments about Following the Flame.

1. Weak is the best way to describe it. Tries to be like "Once A Runner" but falls flat. I had a very hard time getting thru the book. I would put it down and not want to pick it up again because it would get so depressing. There were a lot of (too many) downers in this storyline, the climax was weak, disappointing and over too quickly - the build-up was excruciatingly long and painful to read. One the positive side: I did like all the references to Pre, the main characters idol. Also, all it was kind of amusing the fun they kept making of Langenlosers name.



2. Wasn't sure whether to give this novel a 4 or a 5. It was very well written, yet at times seemed a bit long and the split times--hundreds of them it seemed--while authentic, gave me a headache. I at times felt sorry for Lagenslacker and angry at him for wasting his life, but then isn't that what a good book does: it pulls you deeply inside and makes things seem so real you become lost in it's world.
   
   The one tiny complaint is the author kept saying Pre's trails, but all the various paths near Autzen stadium are known as Pre's trail. It consists of many loops but are considered all part of the same long trail.
   (I live within 1 mile of this trail and run very slowly on it 3 times a week.)
   
   The many passages dedicated to Prefontaine only strengthen this book. The Sport's Illustrated pic of Pre was a very nice touch. All the funny uses of Langen(fill in the blank)'s later part of his last name added humor to this novel.
   
   If this isn't the best running fiction i've ever read, it comes close...



3. I almost had to quit reading this in bed at night. The way Lautenslager writes is so vivid that I felt I was running in the races he describes. It was almost too much at times, but I couldn't quit! And when my heart wasn't thumping, I was laughing out loud--a lot of it was really funny--which kept waking my husband up. He couldn't wait for me to finish the book and I hated for it to end.
   
   The author obviously writes from personal experience. This book feels very true to life--even with some of the improbably named characters. It is a very rich, very engrossing, very funny read. I hope this guy keeps writing. I would love to find out what happened after that final page.

No comments about Mime Ministry: An illustrated, easy-to-follow guidebook for organizing, programming and training a troupe of Christian mimes.

5 comments about A Moon for the Misbegotten.

1. O'Neill's "last" play, written and revised several times concurrently with his other four late plays, never made it to Broadway during his lifetime. After a lukewarmly received tour through the Midwest, O'Neill became dissatisfied with the production, in part because he was increasingly in poor health and also because he was never happy with the play to begin with. He finally gave up on the work, and published it with a curt, apologetic prefatory note, saying "I cannot presently give it the attention required for appropriate presentation."
   
   In spite of its inauspicious beginnings, many consider it his greatest work. I reserve that laurel for "Long Day's Journey," but of all O'Neill's works, this one reads as well on the page as it looks on the stage. Its lead character, James Tyrone, is a thinly disguised version of O'Neill's brother, who drank himself to death in a sanatorium the year after their mother died. O'Neill resurrects his brother for the theater and throws him drunkenly into the arms of an impossible match: Josie Hogan, the daughter of a tenant living on land he inherited. She is, perhaps, O'Neill's most fully fleshed female lead--literally and figuratively. Strong-willed and strong-armed, she simultaneously flaunts and scorns her reputation as a "terrible wanton woman" (an image that is more invented than real), but it is immediately obvious that her true love is Tyrone himself.
   
   The plot of the play rests on a swindle planned by Josie and her father, who mistakenly believe that Tyrone plans to sell their land to an insufferably pampered blueblood from the neighborhood. Their attempt at conning Tyrone with alcohol and blackmail, which resembles a tawdry version of every outrageous scheme concocted by Lucy Ricardo, quickly misfires as a half-comic caper that brings to all concerned a melancholy (but not exactly tragic) sense of loss and wistfulness.
   
   You can see O'Neill struggling to redeem the brother he loved but never quite understood or forgave. But it is Josie who ultimately wins the audience's affections and sympathy.



2. I saw the play on Broadway back in May 2000. If Eugene O'Neill's ghost were walking the aisles of the theater that night he would be proud of the performance that night. The play is timeless as it is cherished as the best love story created. The actors were superb in their portrayal of O'Neill's character. Gabriel Byrne was excellent in his role as James Tyrone the sometimes actor, full time drunken landlord of Phil Hogan (played by Roy Dotrice) and Josie Hogan (played by Cherry Jones). Cherry Jones' character Josie brought out a beautiful heart of a hulking frame of a woman with a reputation of being ornery like her father, who longs for the man she loves, James Tyrone. Every moment is the ebb tide of emotion stirring in the hearts of the two misbegotten crossed lovers. Even to the very end, of the misfortunate disappointment it will stop your heart and make you take a deeper breath again.



3. I loved this play the first second i saw it on broadway. it gave me vibrations all over my body every time Cherry Jones said a line. It was an amazing story of true love and to give yourself over to someyone. And talking to Hope Davis made me cry after, because she said to me "I've never seen love so strong." I do hope you give Eugene O'Neill a chance and buy this amazing play. And try to see any production of his work being broadway or smaller productions. Thank you!



4. Sometimes plays are rediscovered after what seems to be utter failure, a valuable insight for all, I think. O'Neill's A Moon for the Misbegotten was rejected by pre-Broadway audiences in Michigan and Ohio in the 1940s, effectively preventing the play from having a New York premiere during the author's lifetime. In each of the following two decades, attempts at New York productions failed. It took Jason Robards and Colleen Dewhurst to ignite the play for New York in the 1970s, under the direction of the legendary Jose Quintero.

   O'Neill's playwriting career is oddly similar to that of Sam Shepard: He had an early series of realistic short plays, followed by a period of experiment, when he explored a variety of artistic impulses and writing styles. Eventually, he wrote a handful of plays, rooted in realism, sometimes autobiographical, which revealed, nevertheless, what he'd learned through experiment. In the best of these, The Iceman Cometh, Long Day's Journey into Night, and A Moon for the Misbegotten, O'Neill built vehicles of immense emotional power with psychologically rich characters and fairly organic plots.

   MOON revolves around the Irish-American earth mother, Josie Hogan, a tall, rough-hewn woman, who promotes a course image of herself to cover a fragile and vulnerable interior. The other two "imposters" of the play are her father, Phil Hogan, and the landlord of their tired Connecticut farm, James Tyrone (based on O'Neill's brother), a third-rate Broadway actor, who has drunk his life away, chasing loose women and acting a fool. Nevertheless, Josie secretly harbors feelings for him. The play hinges on what happens when her father, through a clever, inebriated deception, convinces her to blackmail Tyrone into selling them the farm rather than selling it to their rich, obnoxious neighbor (for a much higher price). The subterfuge leads to one of the most poignant love scenes in American dramatic literature, as Josie and Jim Tyrone discover that they know and understand the person beneath the mask better than they each thought, and it's still not enough to unite them.

   O'Neill's original title for the play was The Moon Bore Twins. We can be grateful for the change, though the original title does carry a measure of insight with it, for Josie and Tyrone are, if not identical twins psychologically, at least inversions of the same chord-doomed to occupy separate, mutually exclusive worlds.

   The play contains an amazing shift of tone from the first half to the last half. In act one and two we are treated to a rather comic display of Irish inflected patter between Josie, her father, and the rest of the five characters. In the last two acts, the tone becomes more serious and bittersweet, which may explain why it took so long for audiences to catch up with it. The play definitely catches the viewer or reader off guard ... wishing that these two ne'er-do-wells could save each other from the future they have each envisioned. O'Neill's revised title says a lot about the play, for Moon is not as dark as Long Day's Journey, nor as demanding as Iceman, but it is O'Neill deploying all his gifts as a dramatist, writing fully realized roles containing emotional power, wit, humor, and pathos. His language reflects people who are driven to speak to stay alive. No one is writing like this today, except perhaps August Wilson.




5. Eugene O'Neill is definitely one of the greatest playwrights of all time. I saw Long Days Journey Into Night a few years ago and was just struck by the true dysfunctional family that hearkens to society of today.

   Moon takes a character from that great play, James Tyrone, Jr, (who incidentally is O'Neill's brother -- the entire play is autobiographical in nature) and draws readers into the tragic world of the Hogans, and Tyrone. The raw emotions of the characters become apparent with the read -- a difficult thing to do for readers if they have not seen the play -- and also is startling honest about how jealousy, fear and desperation all meld into one.

   Definitely a must read, if you want to consider yourself in the know of American literature, but Moon does at times seem trying, with blatant symbolism(the moon is quite noticeable throughout the play) scratching at the reader.

No comments about Classical Rhetorical Theory.

1 comments about Billboard's Hot Dance/Disco 1974-2003.

1. I was wating for years for this book to be released, and finally I got it. The information is complete and detailed about the songs/tracks that were listed on the dance charts. You can find the date that the song was first entered on the lists and the peak positions. You'd be amazed that many of the dance hits that peaked # 1 on the 100 pop chart did not make the # 1 on the dance/club play chart, and even more did not enter the chart at all. Great presentation and very well organized, it worths every penny $$$ I spent on it. I have only 2 complains about this book, first: the Dance Maxi Single Sale chart information is not listed here at all. It's a most, to have the sales information to be included in this book. How do I know that the song I danced for years was also a success on sales, for the next release of this book please have this information included. Second: it's a total pitty that the information from the electronic music charts were not included here either. The massive and most popular clubs that makes most pop/dance artist have a hit on the billboard dance charts, have been playing only danceable electronica music for years, to be more accurate, since the mid 80's. I hope this will be also included in the next release of the Hot Dance/Disco. Also I have the hope that the world hits (mostly Europeans hits) also listed on weekly billboard magazine gets to be relased on a book soon. Until then, enjoy this wonderful book.

5 comments about Acting for Film.

1. If you want some concrete tips on how to act for the camera, DO NOT BUY THIS BOOK. It is 100% schlock, pure form -- and bad form, at that -- over content. The pompous Ms. Haase is so (obviously) mesmerized by her own turns of phrase that she forgets to give ANY meaningful instruction re: acting before the camera. Frankly, I doubt that she has any, if the Cathy Haase filmography is any indicator. If you want/need some actual/meaningful tips on what it's like to act with a camera pointed at you, and how to communicate through that camera to an audience, GET MICHAEL CAINE'S BOOK. It's a great read and full of information. Sorry, Ms. Haase.



2. This is one of the most comprehensive and thorough guides to Acting out there. It covers all the bases from inner voice, to auditions, to the making of a film and the performers role. By following the essentials in this guidebook, any aspiring craftsman in the performing arts will excel in their field. They will thoroughly understand how their body is the instrument of the performance and develop the skills to step into each characters skin. Highly recommended.



3. "Acting for Film" is a very good book for actors who want to know how to act in front of the camera. It covers alot of practical knowledge such as the audition process, reading a script and creating your character. Also covered is what is expected during the film shoot both for big-budget and low-budget films. This book will teach you what acting in front of a camera is all about. A "must have" book for all aspiring film actors.



4. Cathy Haase's ACTING FOR FILM provides a survey of technique, craft, and artistic requirements for actors. Chapters cover the specifics of converting drama lessons to film; from maintaining proper eye focus on front of the camera to preparing for auditions and sets. There's a big difference between acting on stage and acting for the camera: Haase covers all the finer points of the latter.



5. Acting is hard work, one of the most emotionally and mentally demanding professions in the world. This book clearly and honestly delves into all the nitty-gritty details of the actors process when acting in front of a camera (and the crew behind it).

   From the private moments of preparation, through collaborative efforts of production, and even the difficulties and pleasures of viewing the results, Cathy Hasse misses nothing in this informative and helpful guide. She clearly explains all of the hard "work" that goes into making acting look so easy and natural.

   As a filmmaker, I was really amazed at her presentation of the entire filmmaking process from the Actor's perspective. It was unique, accurate and illuminating.

2 comments about Mel Bay Presents - Ryan's Mammoth Collection, 1050 Reels and Jigs (Hornpipes, Clogs, Walk-arounds, Essences, Strathspeys, Highland Flings and Contra Dances, with Figures).

1. Boy, am I relieved. My old paperback of "1,000 Fiddle Tunes" had been losing pages for years. An indispensable book.



2. This is a collection worth owning for any traditional Irish musician. Some of the best versions of tunes I've found and tunes that just arn't available anywhere else are in this collection.

No comments about Shakespeare, Film Studies, and the Visual Cultures of Modernity.

1 comments about Out of the Fringe.

1. "Out of the Fringe" provides an electric and eclectic new world of plays by latinas/latinos. Thanks to this handsome new anthology, latino/latina theater is shown to alive and thriving in the U.S., whether in the hands of gay activist chicano humorist Luis Alfaro or lyrical cuban-american Nilo Cruz. Caridad Svich, who compiled the anthology, has an extremely musical incantatory play included as well. It is a testament to the energetic state of latino/latina theater and thought that mixed-blood chicano Oliver Mayer writes a play which has but a single latina character and whose themes are national more than regional. This is a must-read. These plays should be done!

3 comments about Irreverent Acting.

1. This is the greatest book written by the greatest acting teacher of all time. The content is amazing and overwhelming to digest all at once. Irreverent acting is the actors Bible in my opinion.
   
   Eric is a genius.



2. I'll admit that at first glance Eric Morris's System can seem scary and misaligned. But I believe it to be a very misunderstood system.
   
   I too was skeptical in the beginning, but after studying this technique (with Eric, but mostly with Anthony Vincent Bova in NYC, Eric's protégé), and after seeing the difference from "acting" and what this Work creates, there's no way I'd ever go back to the "acting" form.
   
   Eric Morris teaches the actor how to react honestly and in the moment, including everything that's going on inside and out-the other actor, the props, the imagined objects that one might be working for-that impels you to "do" whatever the character is required to "do", but out of a real reaction, not just because you're doing it.
   
   I've studied Adler, Strasberg, Meisner, and with Robert Lewis. I've hashed through the process of verbs, actions, objectives, obstacles, and onward; and they're all good and dandy for figuring out what's going on in a script, what the characters are doing and why; but other than that, these techniques never helped me figure out HOW to make it real to ME... How to get to a place where I'm actually functioning from a real, organic, truthful state ... How to get to the point where I am "doing" all the script tells me to do, fulfilling the "actions," out of an honest REACTION to what's going on.... Not just "playing" as if I am; how, in essence, creating the realities of the character....
   
   No matter where you go, all the great teachers (and actors) say the same thing, "Acting is reacting." Even the most used and cherished word in the actor's language, LISTENING, is about focusing outside of yourself and REACTING to what is there. This Work trains the actor to create the stimuli that will fulfill the demands of the piece, specifically, wholly, and with Truth.
   
   For the most part, plays and movies are imagined circumstances, and we as actors, have to create stimuli to react from, so we're not just faking, or indicating our performance. I'd rather watch two people have a relationship on film or on stage, than two actors reciting words, no matter how well they "act" it. If they don't believe it, I won't. This System trains you to create those stimuli and REACT to them honestly, fully and truthfully.
   
   A crucial part of Eric's System is based on Instrumental Work, which is the process of identifying blocks and fears and tensions to expression and, one-by-one, through the use of hundreds of exercises, eliminating them. It's really about self-awareness-learning about yourself and how you function, so you can "get out of your way" and function truthfully on stage or film and get to where you need to get to in a scene. I think this is the aim of every method, but I feel that this System is the only one to address the issues of the actor on a personal level. If I'm tense and depressed (in real life; me the actor), I'm not going to be able to REACT truthfully in a scene where the character has just won the lottery and is jumping with joy. If I push for the emotion, I'll be faking and will "act" that I'm joyful. If this is enough for you, then Eric's work is definitely not your thing. But if you're looking for creating reality and REACTING with truth, nothing surpasses this Work.
   
   I know that Meryl Streep, Brando, Ed Norton, Johnny Depp, Jack Nicholson, Al Pacino, Robert DeNiro, and a handful of other amazing actors don't fake it, don't just indicate the realities of the character and the circumstances. They create them. Be it imagined stimuli they are creating, or through the available stimulus around them, they open themselves up and REACT truthfully to everything -the other actors, the set, the space, the props, the object or person via Sense Memory, etc. I KNOW they do this for a fact! They've talked about it for years.
   
   Eric helps you get to the place that they do-where you can function truthfully, where your instrument is accessible and available, where you are open and are willing to go where the character needs to go, emotionally, psychologically, and physically.
   
   My advice is read Eric's books. If they pique any interest in you, if they strike a cord, study with Eric or Anthony, or at least contact them for further information about the system. I think you'll be quite surprised and utterly amazed at the tools this Work can provide you as an actor.



3. Once, in Eric Morris' Acting class, I mistakenly referred to this book as Irrelevant Acting. Nothing could be farther from the truth. This is one of the best books on acting ever!

   The exercises and work in this book have enhanced my acting tremendously, given me a way of working that is unmatched by any other acting book I've ever come accross (and I've read a ton of em) and has made me a powerful teacher and director in my own right.

   It explains Eric's Technique of Freeing the Instrument (Explained in great detail in his No Acting Please which should be read prior to this book.) It explains a new way of looking at material and personally connecting it to the actor through choices and choice approaches. It truly helps make the actor an artist in that he creates and is truly using himself.

   If you utilize this work and combine it with some common sense of your own (if you don't combine it with some common sense--some of it can get you into trouble) your acting will take on a new dimension; you will be more open as an actor artist and human being.

   You will learn how to free and tap into your emotions. How to make personal choices for your material. How to make Choice approaches or tools to connect you to the work and more! Read this book. Do the exercises. I can't recommend it enough.

   Do read No Acting Please first and follow it with this amazing masterpiece.