5 comments about Introduction to Theatre Arts: A 36-Week Action Handbook.

1. I found the layout to be a bit confusing. The information contained was just OKAY...a bit elementary.



2. If you are a teacher thinking about buying this book, beware! Unless you are buying each student in your class their own handbook, this book is not necessary. The Teacher's edition has the entire student handbook already included. I purchased this book and it was entirely unnecessary since I had purchased the Teachers edition thinking I needed both for my class. It has helpful activities, but nothing entirely spectacular, and nothing I couldn't have found on the internet for free.



3. As a new teacher, I hope this book will provide the help I've been seeking. But I'm finding it confusingly arranged and excessively chatty. The first section discusses point systems, substitute plans and other minutiae in great detail, while the actual syllabus finally appears unheralded on page 106. Nothing is referenced by page numbers, so I'm constantly flipping back and forth, looking for the material the author references. Maybe I'll get used to it as the year goes on. But at this point it's pretty maddening.



4. There are few text books on the market for theatre arts, especailly at the middle-school level. This is a great book for the beginning teacher and/or the middle-school teacher of theatre. It provides an acceptable educational structure while still acknowleging the creative side of the subject.



5. This is by far the most outstanding teaching guide I've found yet. The lesson plans are well organized which allows me more time for hands-on teaching. The guide includes great work sheets and lots of creative ideas. Everything from scene work and characterization to theatre history is covered in a sequential order. I've found this a great teaching tool.

3 comments about A Midsummer Night's Dream (Cambridge School Shakespeare).

1. ORDERED MORE THAN A MONTH AGO, I STILL HAVEN'T RECEIVED THE PRODUCT AND SCHOOL ALREADY STARTED!!!!



2. If you love this play and are thrillled by the stage history and staging minutiae, the this book will send you reeling! The historical reasearch is encyclopediac and captivating. Your rude sea will grow civil with its song.



3. I thought that the book was fantastic and delight. I couldn't put it down. I loved every minute of the book.

5 comments about A Practical Guide to Stage Lighting.

1. I love this book, a must for any one interested in the running out a show behind a lightboard. Very useful!!! A+



2. This is hands-down the best book I've ever read regarding the process of designing and executing a lighting design. Other books do wonderful jobs of discussing instruments and electrical aspects, or how to create a design, but very few discuss the day-to-day paperwork and personal interactions involved in getting that design executed. This book addresses that subject thoroughly, discussing what documents to create, how to schedule time in the theatre, how to work with all the other folks involved in creating a production, and so on. Highly recommended.



3. I would say this is NOT the first book to buy or read for someone wanting to learn stage lighting design. The books does not cover the basic theories.

   But - it offers a very good guide to the real-world contraints and demands of lighting. The author give very concrete and useful suggestions and advice. Analysing a complete design ('Hokey') step-by-step is a clever move. It is also the perfect book for those who want learn how to accurately document their designs to last nut and bolt. Even with my 20+ years in lighting and lighting design, I found this book a worthwhile addition to my collection of lighting textbooks.




4. Get This Book! This book has everything a aspiring lighting designer needs. Shelley clearly shows his thoughts with clear illustrations. The first page is his complete lighting design for a show!!Buy It!



5. "A Practical Guide to Stage Lighting" is destined to become the definative source of instruction in the field of theatrical lighting. With the books emphasis on the process of light design it gives the reader the tools necessary to create the art. Whether your goal is to become a good stage electrician or a good designer the explainations in this book will allow you to work and communicate quickly and efficiently during that precious time allotted for load-in, hang and focus.

   Steve Shelley, by taking a chronological approach to light design, illustarates exactly what goes into a successful design. He defines his terms, explains why he does things, and provides anecdotes and insights that make the book entertaining and easy to read.

   The final section of the book on how to focus lights will teach you more about creating and implementing a light design than any other book you have, can or will read.

No comments about The Thinking Body.

5 comments about Sex and the City: Kiss and Tell.

1. I have been wanting this book for a long time and finally got it...yes!! Fun book for fans like me.



2. I have enjoyed the book a great deal. The only thing that surprised me was that the book was published about mid-way through the series, so it doesn't have any detail about the later episodes. Fun to look at anyway.



3. I don't know this show much, but my girlfriend is a huge fan so I got her a copy of this book. I wish more of my gifts would result in the kind of reaction this got from her. She keeps going back to it leafing through with great interest. If you're in search of a gift for a Sex and the City fan, I don't think you can go wrong with this one.



4. You should pick this up. I bought this item for my wife who is a big fan and she loves it especially the part where they have a map of the city and list all the spots they have filmed.



5. I bought this book as a gift for a friend who loves Sex and the City and I was very pleased with it myself. I have been watching the seasons, and although I have not seen the series in its entirety, I found this book to be really cool. It has behind the scenes looks and it explores the wardrobes of all the cast members. My friend who I bought it for really liked it and I would definitely recommend to anyone who loves Sex and the City.

5 comments about Brando: Songs My Mother Taught Me.

1. This book is an opportunity to "hear" Brando, in his own words, on his life and loves, his relationships with his siblings and parents. It sweeps away some of the mystery that surrounded him because he was portrayed by the media as reclusive and difficult. And perhaps he was BUT the book shows gentle humor and deep and abiding friendships as well as strong opinions that sometimes left jaws dropping. However, not may people are willing to put their reputation on the line for something they believe in. Brando was more than willing to be controversial to make a point.



2. I am a die hard Marlon Brando fan. So I had to get this book. Oh, it is an incredible autobiography. Mr. Brando shares his life story with his fans. I enjoyed hearing his opinions on everything. And he shares his wonderful views on everything. But, out of respect for his children and ex-wives he doesn't mention them. I respect him even more for that. If you love Marlon Brando you should most definitely get his autobiography.



3. This is terrific book!
   
   What an interesting fellow Marlon Brando was!
   
   The only thing about this book that I wish was different is that it's one of those celebrity autobiographies that is written "with" someone.
   In this case, the cover of the book indicates the title and then below it: "With Robert Lindsey."
   
   It's not that Lindsey isn't a good writer; he's a very good writer. It's just that it would be great to read a book actually written by Brando himself, that is to say, without anyone assisting him. It's always hard to know how much the "with-author" contributes to an autobiography. Was Lindsey's contribution minimal or significant? Did he work from a written-out narrative Brando gave him; or perhaps only an outline? Or did Lindsey work with no words but rather tapes of conversation with Brando?
   
   Lest anyone think that Brando wasn't a good writer, the book quotes various letters Brando wrote during his life, many of them to one or both of his parents. In these letters, we see that Brando is, if not a professionally polished writer, certainly an extremely interesting, quick-witter, engaging writer. Enough so that he could have carried the writing of this book on his own.
   
   Another clue as to Brando's "way with words" can be seen in a 1991 book called "Conversations With Brando." This is a series of interviews Brando did with Playboy interviewer Lawrence Grobel back in the late 1970s, early 1980s. What we see, *in Brando's own words,* is, again, a very witty, vert insightful, very erudite communicator.
   
   Lindsey, however, as talented a writer as he is, can't reproduce Brando's communicative energy. It would be inappropriate if he even tried: such energy being unique to the person who possesses it.
   
   It would therefore behoove any reader seriously interested, or even casually interested, in this fascinating individual, Marlon Brando, to read "Songs My Mother Taught Me" in conjunction with the aforementioned "Conversations With Brando."
   
   What a life! What a talent! What a view of the world! I would have enjoyed writing to Brando, telling him how valuable his work has been to all of us.
   
   For an interesting and insightful obituary of Marlon Brando, see http://www.wsws.org/articles/2004/jul2004/bran-j03.shtml
   
   The obituary begins with these words: "Perhaps the greatest American actor of his generation ..." and ends as follows: "He will be remembered as a charismatic performer, an independent and uncompromising figure and a genuine rebel."
   
   Hopefully, our collective future will keep Marlon Brando's joy for living alive & well and as uncompromising as ever.



4. Marlon Brando was the greatest and most versatile actor ever to grace the stage or screen, but he was also a great human being whose heaviness of heart over the suffering of others in the world drove him to do what he could to alleviate that suffering and to shed light on inhumanity and social injustice.
   
   In reading "Brando: Songs My Mother Taught Me" by Marlon Brando (with Robert Lindsey), my emotions ran the gamut. I laughed. I cried. I longed for Marlon's presence among us once again. I felt some anger that this person - this wonderful man who gave us so much - this man who stood by the convictions of his heart to help others and who changed the lives of many for the better was scorned and criticized for his activities on behalf of those living in misery and despairing among us in the world. People called him "radical" and otherwise labeled him. And, he felt their contempt and was affected by it. How unfair it was. While so many people merely paid lip service to such causes, Marlon actually did something to bring about positive change and peoples' lives were changed positively as a direct result of this. So, if this was "radical," then I would wish to be so honorably labeled, myself.
   
   Marlon's seemed a painful and lonely childhood filled with abandonment, insecurity, and heartache. He was a prankster - a fact that reminds me of something I learned years ago when I was in nursing school about children whose needs are not met in life - that they are the "clowns" or pranksters in a group, laughing on the outside, but crying on the inside. Marlon said he had difficulty trusting women until very late in his life and that this was the reason he had multiple relationships simultaneously. If one woman left or rejected him, the pain would be more bearable, knowing there were still others. He would not have to feel so alone and abandoned and rejected as he had at times during his childhood like when his nanny left him and when his mother whom he loved so much was not emotionally available to him due to her dependence on alcohol.
   
   As for Marlon's relationship with the public, it is apparent that society held Marlon Brando to its own unattainable expectations. This is a shameful societal legacy. No person on earth remains who they were at twenty years old when they are fifty or seventy or eighty. People praised Marlon when he was meeting their personal expectations of him. But, then, when he did what was natural by growing older (and wiser, more seasoned, and more socially responsible) and some people felt he was no longer meeting their personal expectations, they became contemptuous or indifferent toward and about him. Marlon discussed this with Lawrence Grobel in Grobel's book, "Conversations With Brando." Marlon talked about how he was received when he had a new hit film out compared to when he did not. He said something to the effect that he could "see it in the eyes of the airline hostesses" and other people how, when he had a new hit film out, he received a "full thirty-two teeth" greeting and that when he did not have a new hit film out, they would talk to him like he was a has-been. This is so ridiculous to me. It seems the memories of some are as short as the last breath they took - either that or perhaps they have not actually reviewed the incomparable and timeless work of Marlon Brando. Moreover, he worked up until the end of his life and still played his roles to an exemplary standard.
   
   Having said that, there is definitely no shortage of love, respect, and admiration for Marlon Brando in the world of movies and among other artists, among his fans, and among those whose lives he helped bring improvement to over the years through his activism, his kindness, and his friendship. This is not to mention the love for him expressed by his children in interviews since his passing.
   
   There was no better actor that ever lived and no film better than those Marlon made - and there were so many: "On The Waterfront" and "The Godfather" both bringing Marlon Brando Academy Awards, "One-Eyed Jacks," a masterpiece in which Marlon acted and which he directed, "Mutiny On The Bounty," among the best films of all time, in my opinion; "Last Tango In Paris" in which Marlon allowed us into his private pain and thoughts and which contained a gutwrenching monologue by Marlon over the body of his character's dead wife; "Apocalypse Now," a film in which Marlon performs a beautiful recitation of T.S. Eliot's, "The Hollow Men," and in which he plays a role that is truly heart-stopping; "A Streetcar Named Desire," in the role of Stanley Kowalski which he acted in such a way that there would be no other that came after him that could come close to matching his performance; "Burn," a film whose subject became somewhat a reality on the set, causing Marlon to take a stand, "The Young Lions" a dramatic and moving film and one of my favorites, "Julius Caesar" in which Marlon proved himself a consummate Shakespearean actor; "The Men," "The Fugitive Kind," "The Wild One," "The Appaloosa," and, so many others.
   
   People seemed obsessed with Marlon's weight in his later years. I remember seeing him in "The Freshman" and thinking how good it would feel to be hugged by him then. I also remember thinking that he was such a handsome man with the same beautiful eyes, smile, and sense of humor. He was still Marlon - a sexy, beautiful, inspiring, sensitive man with a wonderfully expressive face and a brilliant mind - a beautiful soul - and among the most interesting people in the world, in my opinion. I would have loved to know him and to have spent time with him - listening to his ideas and theories about life and working with him on projects. I always thought his ideas and projects were inventive, creative, and often workable. One of the things that I was absolutely amazed to hear in a documentary about Marlon was someone talking about Marlon's idea to use the very cold sea water hundreds of feet below sea level and pumping it up to cool buildings above sea level. The person being interviewed said that this idea was actually put into use to air condition hotels in tropical places - and with an approximate energy savings of two-thirds. It amazes me every time I think about it.
   
   Regarding "Brando: Songs My Mother Taught Me," Marlon chose not to write about his children. I respect that. I think it would have been fine if he had written about his children, but I think that his love and his protective nature when it came to his children precluded his succumbing to any public pressure to subject his children to such scrutiny and exposure. It was obvious to anyone who knew anything about Marlon as a father that he stood by his children, anguished deeply over them, and made all of the sacrifices that a father whose children mean everything to him would make whenever his children were in crisis. In a documentary I once saw, Marlon's children spoke of him. Their love for their father was obvious and his love for them was obvious in their words as they spoke about the kind of father he was. Marlon, who had endured a difficult relationship with his own father obviously wanted to be a different kind of father to his own children - a gentler, more emotionally connected, and loving father - also a father with a great sense of humor and a playfulness about him.
   
   Marlon writes about his father, his mother, and his sisters in this book. And, this book's title is so fitting when one reads how, despite his mother's struggles with her alcoholism, she still gave him so much, including his love of nature and his love of music and theatre. Marlon loved his mother beyond her problems and he took care of her as best he could, even during his younger years when he should have been the one being taken care of. He loved deeply and he grieved deeply and this was evident when he lost his mother, a woman he said "taught me how to die." Marlon also speaks lovingly of his sisters who seemed to have somehow given him a little of the approval, acceptance, and reassurances about himself that he was not receiving elsewhere in his childhood. In particular, in this book, he includes an inscription on the back of a photograph of him written by one of his sisters that said, "Bud - and is he a grand boy! Sweet and funny, idealistic and oh, so young." As for Marlon's relationship with his father, it seemed Marlon spent much of his life seeking his father's approval because his father was always so disapproving and critical of him. I was so pleased to realize through Marlon's words that he had come to terms with regard to he and his father's relationship and that there seemed to be some healing, forgiveness, and understanding on Marlon's part, not only of his father, but also of himself, in the latter part of his life.
   
   Mere words are inadequate to express the way I feel about Marlon Brando. I love him. I miss him. My heart was broken when I learned of his passing and I still feel it now. If, but for the certainty I feel that Marlon is now in a place of complete peace and wholeness, I would wish for his presence back here among us again.
   
   As for "Brando: Songs My Mother Taught Me," I highly recommend this book. It is a book I literally could not put down once I started reading it. It is a very well written and poignant story of the life of a beautiful person who left his mark on the art of acting and on the world in so many ways.



5. Marlon Brando's memoir reads like a breezy conversation thanks to the assistant (if not outright ghostwriter) Robert Lindsay, who was able to compile this material after who knows how much dribble. Brando was undeniably one of the greats, a brilliant craftsman and innovator on the stage and screen. After his cult of personality had been established with `Streetcar,' `On the Waterfront,' and `The Wild One,' Brando drifted to smaller projects, which Hollywood was quick to dismiss. However, during this time Brando performed in Burn! by Pontecervo, which he cites as his greatest performance. I would argue `Last Tango in Paris,' wherein Bertolucci really let Brando's improvisational talent flourish. This memoir is undeniably fluff; he even admits he agreed to do it for the money alone, but it's entertaining fluff. You get to learn about his peculiar politics which include: a visceral support for Zionism, support for the civil rights movement, opposition to the war in Vietnam, and extreme activism to support Native Americans. Brando was a devoted and complex individual. He admits that he enjoyed having affairs, that he often took projects for money, that he was often depressed, lonely, and hot-tempered. What also emerges here is a portrait of an artist trying to gain independence in an inauthentic industry; perhaps he was one of the few who refused to let it ever beat him.

3 comments about First Steps in Teaching Creative Dance to Children.

1. When faced with teaching children's dance classes for the first time almost 30 years ago, I was fortunate to have this. Now conducting classes for college dance students on how to teach creative dance for children, I require this as the textbook. Very accessible; pick it up and use it immediately or use the theory and modify the ideas to create your own classes. The author organizes the medium of motion clearly and includes plans for a variety of ages in classes that enable children to create student-centered explorations of qualities of movement that are truly DANCE. Teaching Dance: The Spectrum of Styles



2. Shipped quickly!!! Wonderful condition! I would buy from seller again!



3. First Steps in Teaching Creative Dance to Children is an excellent tool for the aspiring dance teacher. Mary Joyce prepares the beginning dance instructor and offers innovative ideas for seasoned teachers. As a dance educator, I have drawn on this text many times to spice up my lesson plans! I highly recommend this book to any teacher working with children as Joyce inspires adults as well as children to find the magic in creative dance.

5 comments about Into the Woods.

1. I recieved the book as a gift from my aunt. It is so descriptive, so great. Sondheim's lyrics paint the picture that Lapine creates. I would recommend this to anyone!



2. The pictures were wonderful and it was a great adaptation of the Broadway show.



3. First off I wanted to comment on that I'm not under 13, I'm 18. But after reading "Discerning Viewer" said about "Into the Woods." I had to say something.
   
   Sondheim used the original, unedited versions of the Fairy Tales. Case being that the stories were more for adults AND children. And there are universal morals. Don't smother your children (Rapunzel), Don't deviate from the path (Red Ridding Hood), Despite being unappreciated and condemned to serving others, as long as you are kind natured and a truly good person, your dreams will come true (Cinderella). And many argue that Jack and the Beanstalk's is moral is learning to survive and fend for one's self and family.
   
   The second act asks the questions and consequences that the Fairy Tales never answer, like does marrying a handsome Prince really make someone happy? Is a Giant always wrong, and how do you deal with his angry widow? Is killing the wolf the best solution? And does it pay to be charming and not sincere? And two other powerful points of the musical, that are also morals are told; That no one is alone, that everyone depends/needs on someone to survive. And finally that what ever we do, children will SEE and HEAR it, so they LEARN from it, so be careful of our actions and what we tell (and stories) when we say "Listen to Me..."



4. I purchased this in conjunction with the DVD to use for a paper I wrote about "Into the Woods" and its commentary on children's literature and the very notion of childhood. I'd urge anyone to buy the book if they love the show and are interested in looking at it line by line to absorb even more clever subtlties. Great for any ITW fan who is looking to delve deeper into the show's magic and message.



5. This book gives a new twist on some old stories. By way of the Woods, the story created a way to entertwine them all. We go through the experiences of Cinderella, Jack and the Bean Stalk, and the Baker & his wife who are in want of a child, and let us not forget, the Witch and her Rapunzel. Each character wants more than anything in the world something, and they sneak around eachother at times and at others work together to eventually find a happy ending for them all. Also, for those of you who sang "Into the Woods" in school or who have seen the play enough, there are times when you can just start to sing it out for your toddler's amusement. Though I cannot forget that some parts with the Princes have a bit of suggestive talk, but nothing truely in appropriate.

5 comments about How to Stop Acting.

1. This is an insightful, simple, and easy way to approach acting in the moment. If you're bogged down with stanislavsky based text work, or even if you're a new actor, this is a fresh, new way to approach your work and make it more dynamic. I found the work especially helpful in film and tv, but it can also be used for the stage. Yes, the author does name drop, but I think he needed to in order to get his own name out there, and who can fault him for that. I found these-celebrity example- selections in the book to be the least informative for me. The real meat and potatoes likes in Harold's unique and valuable technique. A must have for any actor. Harold is also great to work with one on one-if you can afford it!



2. I've read Strasberg, Adler, Meisner, Suzuki, Morris, Mamet, Chekov and several other acting books by lesser-known authors. Without question, Guskin's book is the best, most immediately usable method I have ever encountered. Guskin gives so many useful exercises to undertake his innovative approach along with a great deal of advice for solving a myriad of problems and issues actors face.
   
   When I began reading Guskin's book I was intrigued but skeptical. The approach seemed like it just might be extraordinary, but I had questions as to whether it would work within certain contexts I faced as an actor. For example, what do I do when I'm in the middle of an audition and I freeze and nothing is coming to me? What good is Guskin's approach then? Much to my delight, Guskin addresses this question in a thorough and satisfying way. In fact, Guskin answered all of my practical acting questions and gives simple, usable solutions which all fall within the context of his unique acting approach.
   
   Just like any acting approach, ultimate success comes with undertaking his advice and practicing, practicing, practicing his approach. Do this and you will reap great rewards.
   
   My one slight reservation, which doesn't diminish the power of the book, is that casting directors for film and television often want you to come into an auditon situation with a 'final performance' for the audition. They do not want you to 'play' or 'discover' various versions of your performance during your audition. Casting directors for film and TV want you to give them the character as it is stated in the written character breakdown that they give you. Yes, this 'final performance' too, can be accomplished using Guskin's technique, but one needs to go into such audition situations very well-rehearsed beforehand.
   
   Indeed, Guskin is correct in asserting that this very preconceived notion of character required by film and TV casting directors is far less prevalent in the theater and in theater auditions. This is not a caveat, just some additional info.
   
   Truly the finest, most simple, practical and usable acting book I've ever read.



3. This guy sure does like Chekov. Almost every example of scene study or a monologue suggestion is from a Chekov play. It made me think more about which playwrights people consider to be the gold standard of good theatre than how to improve my own connection to a character. This reads very much like your typical good college acting teacher who name drops like it's going out of style (he's friends with Glenn Close, Kevin Kline, etc.) and throws in little nuggets of wisdom here and there. I still think there is no substitute for actually getting up on stage and doing it (and trying all sorts of things out and improvising to see what works and what doesn't) but this book should tide you over until you get onstage again. My favorite bit of advice he has: it's okay if you don't know how your character is supposed to feel on a given line. Accept that you don't know how your character is supposed to feel. Just let your mind go blank for a bit and then something will come to you. Decent book overall. I have another book by Ivana Chubbuck called "The Power of the Actor" that is a bit more memorable but this is still decent.



4. Harold Guskin's approach is brilliant in its simplicity. He takes you away from "techniques" and back to the reality of being in the moment. When I practice his approach I'm able to truly listen and dialogue with the other actors on a deeper level, and to respond to their words and mine from an internally, gut-motivated, truly living and experiencing in the moment place. From the stage or the audience the result is more exciting, more alive, and much more meaningful. I never have to try to memorize lines when I work from this angle either. The words take on a life of their own and take up residence, flowing freely when the time comes. The result is a fresher and more alive characterization too -- not "overstudied". Mr. Guskin's approach is refreshing. I urge every actor to buy this book, get real, and stop acting.



5. I'm updating my review, because I think the first draft was skimpy, and I feel like I have a better view of this book now that more time has passed since my first reading.
   
   The crux of the book is Guskin's concept of "taking it off the page." This was extremely valuable to me, and it turned cold readings from being scary to being my favorite part of the acting process! "Taking it off the page" is applicable to rehearsals, too, though, and to freshening up ongoing performances.
   
   The book lightly touches on a lot of different types of acting: Auditions, Rehearsals, Sit-Coms, Serials, Small Roles, Big Roles, Touring, Film Acting. I think Guskin wants to explain briefly what you need to do differently for each of these situations. The book is too short to teach all details for any of these, though, so you will need other sources.
   
   The book is very important to me, and my first experience with it was that I read it, and my very next rehearsal was the best rehearsal I had ever had. I felt so free, it was amazing. That is his main objective, to free you up to enjoy and explore.

5 comments about The Complete Guide to Remixing: Produce Professional Dance-Floor Hits on Your Home Computer.

1. THIS BOOK MIGHT BE GREAT FOR SOMEONE WHO ALREADY HAS SOME EXPERIENCE IN REMIXING, BUT NOT FOR SOMEONE WHO HAS NEVER DONE IT. AS THE AUTHOR HIMSELF WRITES:
   
   "...it's crucial that you at least understand a digital audio sequencer's basic operations."
   
   HE GOES ON SAYING THAT YOU NEED TO UNDERSTAND HOW TO RECORD A TRACK, SEQUENCE A MIDI PART, QUANTIZE A PERFORMANCE, AUTOMATE AN EFFECT, ETC., ETC.
   
   WITHOUT THIS BACKGROUND YOU WASTED YOUR MONEY. THIS BOOK IS NOT FOR THE ABSOLUTE NOVICE AND I WISH THEY WOULD LET YOU KNOW THIS BEFORE YOU PURCHASE THE BOOK, BUT THEY DON'T. TO ME THE BOOK SHOULD BE TITLED "THE COMPLETE GUIDE TO REMIXING FOR THE INTERMEDIATE TO THE ADVANCE LEVEL REMIXER", OR AT LEAST AKNOWLEDGE THIS SOMEWHERE IN THE COVER. I STILL GIVE IT 4 STARS BECAUSE LIKE A SAID THIS BOOK IS GREAT FOR SOMEONE WHO ALREADY HAS SOME EXPERIENCE.



2. This is one of the better books I have read up to date. If you have a basic foundation of music production knowledge it will be extremely helpful - if you dont it will still be helpful. Great Book!!



3. 
   Great buy if you're looking specifically at remixing. The book does not dive into specific programming techniques for synthesizers at a detail enough to become a professional, but it is short enough that it became a quick reference for me on certain techniques. Very good read for the aspiring producer.



4. This book cuts right to the heart of techniques that you can build off of to form your own tricks and styles. It really helps to reveal the added capabilities you can get out of your existing sequencer and FX along with inspiring some discovery.



5. With all books from Berklee Press the beginner and the advanced alike will learn something new. And this book is no exception. Remixing is very hot these days and everyone wants a piece of the pie. But there are only a select few who can pull off remixes that move people. With this book an aspiring DJ can get a few steps closer. Not olny does it start with the basics such as what gear you will need, it walks you through the different aspects of remixing. For the beginner, knowing what makes the genres of dance music different helps you to focus on the type of remix you want for a song. For the seasoned Remix artist it will give you the basis to expand your horizons into different types of dance music. The CD that comes with it is a great tool to actually hear the technique the author explains in step by step instructions.
   
   Remixing is an art, but you gotta start somewhere.While there is no subtitution for actual practice, you can't go wrong with this book.