5 comments about Excelsior, You Fathead!: The Art and Enigma of Jean Shepherd.

1. Excelsior, You Fathead is a must-have for any Jean Shepherd fan, simply because it's the only thing of its kind out there. There is a treasure trove of Shepherd tidbits, recollections and quotes enough to have made me re-read the book, in part or in its entirety, over 7 times.
   
   But, I must say that Mr. Bergmann has an agenda. Clearly, he prefers the 1950s Shep - the Jazz Shepherd - over the 1960s or 70s model. Having listened extensively to both, I feel the opposite but that's just a matter of opinion. However, the author seems desperate to dig up some dirt on Shep, to make this a tell-all. But the best he can come up with is people whining about how he wasn't always very nice to people, talked a lot (duh!) and tended not to look up old friends. The only thing remotely approaching the scandalous is that Shepherd didn't seem to care about his two kids from a very early marriage - this is deplorable, of course, but hardly Joan Crawford wire hanger material.
   
   Also, Bergmann seems to be a rather lazy author - I doubt whether he ever left New York City to write this book. There is no attempt to interview people from Jean's early past who might shed some light on his personality. The author says, over and over, how mysterious and close-mouthed Jean Shepherd must have been because he (author) just couldn't find out some things. Well, it IS hard to find out much when you're a lazy author.
   
   It is still an enjoyable book and, as I said, a must-have, must-read. Just don't expect too much of it. And maybe someday, some author a little less biased, a little less lazy will do Jean Shepherd justice. In the meantime, this is the best we have.



2. This book does not attempt to be a linear, narrative biography of Shepherd's life, but instead contains voluminous material organized around broad themes that cut across different time periods of his life. This is both a difficulty and a strength. It can make for a somewhat difficult and disjointed reading experience. The text contains extensive quotes from Shepherd's radio broadcasts, which, while valuable to have in writing, lose something in translation from Shepherd's delivery to written text and break up the flow of Bergmann's text. However, when viewed as a Jean Shepherd encyclopedia, the book is an indispensable addition to a Shepherd fan's library, as it assembles a prodigious amount of material. The book paints a full picture of Shepherd in both his genius and his flaws, including a sensitive treatment of Shepherd's problematic relationships with women and with his two, sometimes unacknowledged, children.



3. I was very disappointed after reading this book. A lot of good information about the life of Jean Shepherd was left out. Many details of his life were either missed or overlooked. I would hardly call it a biography. Most of the details were left out. After reading the entire book, I said to myself, "Is that it?" Hopefully someone will write a more complete story of such a man that was larger than life.



4. For this listener of the incomparable Jean Shepherd when his show was live on WOR radio out of New York and who still tunes in via taped recordings on the internet, "Excelsior...[ever higher]...You Fathead! [a Shepherdism]" is very welcome. His show did not book guests; it was Shep alone, monologist at work. Yes, Shepherd branched out into books, records, and a film he wrote and narrated--but those were pale imitations of the real thing, the radio show.
   
   Some of Bergmann's revelations about Shepherd's personal life will be disappointing to those who carried his banner a tad too high. Bergmann is a fan but his view of Jean Shepherd's unpleasant side is unvarnished and well-researched through interviews and published quotes of those who knew him. By all accounts Jean Shepherd was a hard man to know. Purposely so: he often did not give his real address to employers, coworkers, and friends. He would disappear for days in fast cars, touring the countryside. He traveled the world, usually alone. Which left the author fewer sources than he would have preferred decades after Shepherd's radio years. But he found enough. They offer insights into the "enigma" in the title, a polite description of a probable manic-depressive who often sabotaged his own dreams of fame and fortune.
   
   The "art" was spun out of an empty studio near Times Square in the quiet of late night from the 1950s to the mid-70s; it is an art like no other before or since. Some of Shepherd's monologues are partially excerpted here from recordings Bergmann painstakingly transcribed. Among these the author deftly weaves details he has unearthed of Shepherd's childhood in Indiana, his Army service, his tempestuous years in the Big City.
   
   Of course, not all Shepherd's radio broadcasts were unforgettable. The man had to fill forty-five minutes every night. When he got away from his natural talent for storytelling and indugled in shrill rants against all manner of "phoniness," he played too strongly to the sophomoric segment of his audience, the size of which he sometimes claimed dismayed him, Bergmann notes. Yet throughout his career Shepherd relied heavily on gigs at college campuses for extra income. But he wanted it all. The author relates how his subject fancied himself an heir to Jack Paar on the big-money "Tonight Show" before Johnny Carson snatched it away; had he won the job, Shepherd wouldn't have lasted a month: he was consistently dismissive of that audience...but he still craved its approval. And was bitter he didn't get it.
   
   Yet, he played Carnegie Hall to great success. Carson was an admirer, Bergmann says, advising Shepherd to "get out of that damned medium [radio]." But radio was made for Shepherd and he for it. Bergmann writes that U.S. Poet Laureate Billy Collins grew up a regular listener and acknowledged being influenced by Shepherd. When Shep was "on," it was magic. Regretfully, talk radio was withering in Shepherd's best years. And he knew it.
   
   This is the first book-length work that gives real shape to the man that was Jean Shepherd and the genius behind the voice.



5. Forget "A Christmas Story" for a moment. Even this long love letter to Jean Shepherd only covers it to the extent of two pages. This book attempts to document the body of work Mr. Shepherd produced, within its contemporary context, and relate it to the present-day descendants. At least, that's where I think the author intended to go.
   
   What ended up happening, from what I can tell, is that there was a great deal of research done 'breadth-wise' and not enough 'depth-wise'. Mr. Shepherd had two children who he disowned, which was a bit of a shock considering his on-air persona. This alone merited an entire chapter of material, analysis, interviews, anything. It barely made it into the book, except to lightly underscore some mild point about Mr. Shepherd being a bit of an SOB. There are all these interesting inflection points throughout, but no attempt is made to root out anything other than a mere mention or two. Instead, the author chooses to use radio transcripts to either demonstrate some thinly-connected theme (Shep as a jazz talk-radio guy, Shep as an anti-corporate loner, Shep as a 'realist'). The transcripts are hit and miss on the coverage of the point being proposed as well. Yes, it's great to read some Shep transcripts, but what's the point being made here?
   
   As a full spectral coverage of Mr. Shepherd's work, it fails to catalog along some consistent continuum all of the work, in its proper context. The author could've used a timeline structure to place all of the known media, which would have made an extremely useful supplementary guide for the book as well as a nice 'wish list' for fans. I feel as though this review could easily turn into the kind of editorial feedback the author needed *before* he submitted his final galleys.
   
   For all the heft of this hardcover, I expected far more analysis or even a somewhat cogent thesis. Even as a comprehensive biographical reference book, it falls far short in the editing department. Still, it merited three stars because it does bring much to the table. It never really organizes it, though.
   
   -Fred

No comments about O Solo Homo: The New Queer Performance.

2 comments about Exploring Sound Design for Interactive Media (Design Exploration Series).

1. The book is not really about sound design. It does not give any new techical information and the musical stuff is very basic. In the book says that the CD files can be used for classes but ther isn't anything that is worthwile (and they are only a few!!!). The only information that it has some interest is about games sound design but is very very short.It was disapointing.Do not be fulled by the tittle.



2. Cancellaro has written a thorougly accessible text here. This isn't one of those dry thousand-page tomes that will never get read. He writes like a real human being speaks - which makes the learning all the easier.
   
   Whether you are a musician, digital video artist or a college student learning digital audio - this is the book for you. It covers everything from basic audio and acoustic theory, digital concepts and compression issues and even introduces music theory - and keeps it all fun and approachable.
   
   Highly recommended.

1 comments about The Actor's Script: Script Analysis for Performers.

1. If you are unable to take Mr. Waxberg's Script Analysis Class at Stella Adler in Hollywood, California, then the next best thing would be to buy this book (I was lucky enough to do both). This really did open my eyes, whether the scripts are from the stone age or up to present day. This book is an easy read and Mr. Waxberg's humor and insight really breaks everything down word for word. I wanna call him 'Dr.' Waxberg the way he disects a script to pieces then brings it all together so an actor can understand the truthfulness behind the playwright's words. It's all about making the strongest choice as an actor, and this book will help you on the way.

5 comments about Writing Musical Theater.

1. If you are interested in writing musical theater, you must have this book. It is inspirational and instructive. I have several books on musical theater, but this one is head and shoulders above them. Very, very, good!



2. This is a first class book; well worth the money. I'm writing my first musical, and I got many many tips and ideas. It was very helpful to watch the authors create their own new musicals, so that I could observe some of the process. It would be helpful for the reader to be very familiar with a broad set of musicals, or be willing to do some research; the authors draw comparisons to other shows throughout the book. Most I knew, but a few I did not. They seem to love Sondheim (thankfully I saw "George" the week before). They crack a bit on Les Mis - one of my fav shows. Outstanding book.



3. I've read many of the other books about writing musical theatre, and this is hands-down the best one. Not only is it thorough and informative, but it is the only book to my knowledge that has in-depth advice about the actual music element. This is an essential read for anyone writing a musical, or anyone who is curious about how they are constructed.
   
   This book is divided in sections, and explains more about the actual creative process than any other similar book. The authors provide helpful examples and honest advice, and they are not at all about self-promotion like the other leading book on the subject. This book will be as helpful to experienced writers as it will be to novices.



4. There is no book available now that tells you everything you need to know to write a musical, but there are several out now that can collectively give one a very good idea of how to go about it. Latest in the field is WRITING MUSICAL THEATER by Allen Cohen and Steven L. Rosenhaus. Rosenhaus and Cohen have written a very useful book that can at least get you started. As the authors themselves say, there is no better way to learn than to actually do it and to keep doing it. Other books cover some of the same material, but where this book really has something new to say is in the section dealing with the music.
   
   The most daring section of the book (and perhaps the most useful) is the part where they actually set out to write two new shows for illustrative purposes. One is an adaptation; the other is an original. Their goal was not to create great works of art, but to show how to go about writing a musical. Neither of their examples is going to set the world on fire. In the real world they would in all likelihood be flops, but they brilliantly illustrate the practical problems that arise and some possible solutions. (Bravi, guys, and thanks.)
   
   My only real quibbles with the book are in the bibliography where they list A CLASS ACT, CLOSER THAN EVER and STARTING HERE, STARTING NOW as important musicals. (I would love to know by what logic they arrived at those pronouncements.) They also list Johnny Mercer as an important lyricist of theatre music (none of his really good work was written for the theatre and much of his reputation is a result of self-promotion through his ownership of Capitol Records) and Dorothy Fields is not mentioned. Nor do they place Sheila Davis's brilliant THE CRAFT OF LYRIC WRITING on the recommended reading list. (I consider it The Bible of lyric writing!) They do not place Bernard Grebanier's PLAYWRITING on that list either. (There is no better analysis of what makes a plot anywhere.) But despite these quibbles, I would wholeheartedly recommend this book to the aspiring musical writer. It is an excellent place to start.



5. Allen Cohen and Steven L. Rosenhaus have written a wonderful guide to writing musical theater appropriately title WRITING MUSICAL THEATER. The book is invaluable not only for the aspiring composer, lyricist, and book writer but also for any lover of America's great art form who wants to know just how a show is put together. The experience of the authors (both active practitioners and educators) is evident on every page. I can heartily recommend this book to the student and the aficionado.

1 comments about Taken by Surprise: A Dance Improvisation Reader.

1. Collaboratively compiled and ably co-edited by Ann Cooper Albright and David Gere, Taken By Surprise: A Dance Improvisation Reader collects together under one cover some twenty-one essays by well-known dancers, scholars, and historians. Discussing improvisation in dance within contexts and traditions ranging from Yoruban masked dance to Indian Bharatanatyam, flamenco, and more, Taken By Surprise offers an informed and insightful exploration into the art of impromptu dance, as well as the changing emotions expressed within its many forms.

1 comments about Laban for All.

1. I have studied Laban for my professional career as a dance/movement therapist - this book has been extremely informative and helpful. I also have many friends who are actors and dancers. I have shared this book and information I have acquired from it with them and they have also found it to be most helpful in their careers.

No comments about A Disappearing Number (Oberon Modern Plays).

No comments about An Adult Evening of Shel Silverstein.

5 comments about The Classic Ballet: Basic Technique and Terminology (Borzoi Books).

1. I purchased this book because I wanted an updated copy of the 1971 version. This book is practically identical to the older copy, but it's still great information and a really cool book.



2. This is a wonderful book for beginners as well as experienced dancers. In particular, this is one of the best references for barre exercises, but the center steps are well covered, too. This is actually my first choice when recommending barre exercise references, which is reason enough to include it in a ballet library.



3. This beautiful classic, repackaged by Alfred A. Knopf, will remain a treasured addition to the library of any lover of the ballet. Six hundred stunning illustrations, in 156 plates by Carlus Dyer bring life to the concepts.



4. I have the hard bound edition of this book, published some time ago by Alfred Knopf, and I never tire of looking at the drawings and appreciating the mathematical precision of classical ballet. The reading of this book will be of an enormous assistance to studying ballet, and it is also invaluable if one wants to study the more technical facets of the subject. Ballet is one form of dance that can be mathematically systemaitized and characterized, and this book is a great reference for such an undertaking. Definitely worth having and the paperback edition with its low price makes it completely accessible to all.



5. I thought this book contained good information and the drawings are incredible- although confusing at times. There are many steps described in this book, both advanced and beginner. I find this book a great addition to my ballet collection. As a dancer, it is a good reference book for me when I have a question or uncertainty about a step. This book describes in detail how to preform barre exercises, allegros, turns, pointe work, etc. This is a necessity for all dancers and dancer-wannabes.