i enjoyed this compilation of many good sci-fi authors, i recommend it to anyone who likes sci-fi.

This book should be in every library collection. It is also a handsome volume for the enthusiast or interested person.It is comprehensive, and contemporary.

Gorgeous colour plates, fully annotated.

Cogito's Elctronic Companion to Genetics is an excellent tool for anyone involved with, or just intereseted in, the field of Genetics. The illustrations are very clear and understandable, and the sections on mitosis, meiosis, and recombination are vividly animated, facilitating understanding of these processes. And Cogito makes all of the material interesting and enjoyable to learn.

Biographical essays of well-known as well as fairly obscure musicians and industry types. Escott has made a career out of telling outrageous, sometimes salacious, tales -- he gets to the rawer, visceral side of the story pretty quickly, which is relatively easy when you're talking to folks who worked in the scraggly, scruffy early years of country, rock and blues. He's an engaging, consersational writer, and this latest collection is a delight. Includes essays on artists such as Dale Hawkins, Don Everly, Johnny Horton, Tim Hardin and a particularly cruel skewering of Pat Boone. In one of the most fascinating sections, Escott profiles the founders of record labels such as Decca, King, Starday and Hi -- a fascinating and very illuminating appoach to presenting the history of popular music. Beautifully laid out, well written and highly recommended.

This groundbreaking work offers the reader insight to the world of Stax in the sixties and seventies. It allows the reader to understand the forces behind the ascension and eventual decline of one of the greatest recording labels in the history of modern music. In the course of absorbing this wonderful book, the humble reader is able to gain an understanding of the societal, cultural, and racial catalysts for the music produced. In the latter part of the book, the reader sees the painful decline of Stax from their pinnacle to their nadir in the course of only a few short years.

Extremely highly recommended -- the best musical history book I have read.

Also recommended: The Complete Stax/Volt Singles, Volumes I, II, and III (box sets with excellent liner notes by Rob Bowman)

Also -- It Came from Memphis' for a good background on the lesser known, but nonetheless important musicians who originated in Memphis.

This Book was all that.Staxx is as Important as Motown.It's a Incredible Story.especially when A Black Label Blows up Down South in the 60's.you only ever here about Sun Records &Sam Phillips and his discovery of Elvis Presley.so this is Very Important on a Social Front.The Many Great Artists on Staxx.this Book is strong from start to Finish.

In his letter to the Galatians, St. Paul decreed a particularly ugly fate for males who proclaimed any gospel, other than the Gospel of Jesus Christ. The Rev. Anderson need not worry about that punishment. In fact, the title of his book is a bit deceptive: This is not "The Gospel According to Disney," nor is it a theological treatise of any sort. Rather, it is the Gospel of Jesus Christ, as seen in bits and pieces, through the work of Walt Disney, et al. In each of the 20 short chapters, Anderson lays out a sermon illustration, Sunday School or Vacation Bible School lesson, as seen in one of Disney's films or leading characters. The book is amusing, engaging, and restates the unchanging Gospel of Jesus Christ in a fresh way that is easily grasped by a modern audience. If there is any short fall to this valuable little book it is that the book can be a bit short on divine grace, and very long on perfectionism at some points. Ironically, sometimes (despite the title) rather than appealing to the Gospel, Anderson appeals to the Law. ...but a book that includes maxims, morals and ethical teachings is still a valuable text. Especially, when paired with opportunities to view the original films, this book can be a wonderful teaching tool for parents, Sunday School teachers, Vacation Bible School teachers, divinity students and clergy.

The Gospel According to Disney provides a wonderful, authoritative starting point for parents to teach their children Christian morals and values. In each chapter, Rev. Anderson skillfully points out the parallels between the early Disney animated classic movies and the important lessons of Christianity. Included at the end of each chapter are study questions which nicely serve to stimulate and facilitate family discussions. Using the Disney movies, beloved by all children, Rev. Anderson has provided parents with an easy, relevant means to make important Christian teachings a part of their childrens' everyday lives. Thank you, Mr. Disney, for making the beautiful animated classics, and thank you, Rev. Anderson, for showing us their important religious significance!

Rev. Anderson skillfully enlightens the reader to a higher level of Disney animated classics. He lifts up scripture from the Bible and shows the reader how its lessons live on in numerous Disney animated films, created during Walt Disney's lifetime. If Walt were alive, I believe he would highly approve of Rev. Anderson's insights. Exploring Christian values by comparing them to popular stories is a creative and fun way to get the entire family to study and learn from the Bible. Each chapter is a sermon for modern times; his insights are shared with humor, touching stories and wisdom. Rev. Anderson even includes study questions for adults (children of all ages) to continue their learning, on their own time. This book is a treasure for the whole family, a valuable companion to the Bible and represents a scholarly view into the world of animated art.

The title of the book may be misleading.
Attention, this book is for advanced readers in Condensed matter physics. Actually, the book is mostly consisted of some good papers selected by by Anderson. A beginner can read this after he get to know the "basic notions" from basic books.

In fact, although it was been published almost twenty years ago, But most ideas in it were very classical and very sightful to Condense Matter So you caould see that many papers in the publication in fact cites this book . It's a very guide to the matter world !

This is a very entertaining collection of interviews. Duckworth takes his time to explore the issues sufficiently deeply with his interlocutors. Hence, there is substance to the book: it certainly is more than a loose collection of freewheeling conversations. And I am grateful for the fact that Bill Duckworth expanded his survey beyond the obvious collection of Minimalists and Cage. I knew nothing about Pauline Oliveros, Glen Branca or La Monte Young and came away refreshed from reading all their stories. I was generally satisfied by the way Duckworth steers the interviews. The tone is relaxed, sometimes earnest, sometimes tongue-in-cheeck. He is at his very best in the long, sometimes rambling conversations with La Monte Young and John Zorn. But in other cases - such as with the more rigorous and perhaps intellectually more intimidating personality of Steve Reich - Duckworth rigidly sticks to his agenda and fails to capture a number of potentially interesting tangents. The interview with John Cage is outright funny in the way Duckworth fails to catch on with what Cage really tries to get across. He keeps asking the wrong questions whilst Cage, with dwindling patience, is making broad excursions in conceptual hyperspace. But if Duckworth fails to capture a number of interesting opportunities to dig deeper in some of the interviews, this remains a very valuable collection, at least for those new to the whole field of American experimental music.

Willian Duckworth is marvelous at asking questions,he is so natural at it that he makes you feel you have known his guests all your life. He allows everyone to feel at home, at ease,like catching more flies with sugar quip. Like asking John Cage for instance, "I don't have a very good understanding of what your early musical training was like,". or to La Monte Young, asking if he is the "father of minimalism", I guess it doesn't matter now, since most of what is discussed has played itself out. Here Duckworth interviews creators of primary creative genres of Americana leaning toward the achievements of all the various,nefarious "isms", experimentalism, minimalism, well just intonation doesn't fit, and the ubiquitously opaque post-modernity. And progressing from who are considered the Mammas and Pappas to the younger generation.The genre of Interviews seem to be occurring with greater frequency,speaking of one of the features of post-modernity. It is the most immediate way of knowing someone's art, aesthetic, how they feel about the world,about politics, or how they don't feel. Obsessions are explored in these interviews,as with John Zorn's early buying jags of recordings,jazz etc.,and formative years as with La Monte Young and his obsessions with sound, listening to telephone generators,or machines, the inherent drone in these industrial objects,Also professional associations, and disassociations with the New York scene,Fluxus which includes,just about everyone here interviewed is probed, with nice discussions of the early years of performance art in New York City. Education away from academia was an important component of American music,sorry to say, with those of the post war-generation turning to the east, and World Music, as Steve Reich, Phil Glass,Lou Harrison, Pauline Oliveros and La Monte Young. Young in particular reflects on his education with Pandit Pran Nath on intonation and improvisation and learning it with Marian Zazeela.Professional associations, how to survive by being a performance artist, Duckworth pursues and explores with Meridith Monk and Laurie Anderson, finding gigs in New York City or Europe again was everyone's passion.How do you work? is also a wonderful question, Monk reflects that she has to work all the time to feel attached, whereas she knows composers who don't work for months and claim to feel they don't lose anything. How creators get into ,what they get into, as Ben Johnston reflects on his early education with instrument iconoclast Harry Partch, how Partch taught Johnston to sing fractional tones, an eleventh/sixteenth, and how Partch would devote mornings to music, and afternoons to physical work, building sheds,or home extensions,or gathering wood. Also Johnston speaks about his wonderful string quartets, the Seventh in particular which is based on an 100-tone scale, and how we come to understand it via the relationships it represents rather than hearing 100 isolated tones. With Lou Harrison we have almost a history of American music, in that his life traversed through the primary achievements, the interests in World Music, Tunings, percussion music, and extended techniques,living on both coasts. But Harrison claims he was always a melodic composer, he had to sing whatever he wrote first, to attach himself to the world of sound, no matter how complex his music became.Some interviews are boring however as the the one with Phillip Glass where he simply recounts his life, and his interests, there was not a spirit of adventure, of discovery.Whereas Milton Babbitt has wonderful reflections on his early studies in music with Roger Sessions, and how Babbitt felt he needed to start over. The interview with Christian Wolff was over before it got interesting,Wolff primarily discussed his early music, the pieces associated with the Cage School(Cage,Feldman,Brown,Wolff)(nice photo of them)instead of traversing the set of problematics of dealing with political imagery. That question came as the very last one."Are you still writing political music?". Duckworth admirably gives nice introductions to each composer, and makes you feel the center of where creativity occurs, what excites an artist,and where challenge and repose occurs within music.One good question here always was"When did you first hear of John Cage", or what was the first piece of "so and so" you heard. This makes for a marvelous discussion on what were the initial indeliable moments on one's creative life. Not everyone is gifted at interviews it is a conditioned and practiced art. This work is a great model toward that genre.

It is a sad commentary that, now that Japan is no longer viewed as ascendant, critical and better books are coming out than existed (or were known) previously. I think that we did not want to know about the flaws underneath the facades we constructed, though many of us suspected them.

This book takes a good, stark look at the arcana of dealing with Japanese businesses. It is a world where appearences are more important than realities, where superficial politeness hides brutal power relationships, and where the correctness of routine is more important than the reasons - strategic or otherwise - behind them. In practical terms, this reveals that what a lot of us thought about Japan in the 1980s was in fact meaningless ritual and blind procedure (following and copying), couched in nice terms ("tatemae") that so many of us took at face value. The reality underneath, the uglier side of things, is almost invariably truer than the nicer versions. And now that Japan is seen as a beleagered backwater, we have no problem believing the worst.

That makes this book VERY valuable. Unfortunately, it is written like an academic business book, which means its style is rather plain, rather than with the vividness of journalism. But that may be my own bias.

Read this and come away with a much better understanding of the background and corporate orientation of your Japanese counterparts. Simply outstanding.

My 10 years of experience with the Japanese (including 4 different Japanese companies) has provided me with endless cases of dumbfounded bewilderment at Japanese behavior. Upon reading Inside the Kaisha, I found succinct, clear explanations of Japanese thinking and behavior which totally agree with my life experiences. Hats off to the meticulous research and easy-to-read writing style!

Even the biggest Paul Thomas Anderson fan will admit that his scripts don't read that well. He makes basic spelling mistakes and tends to run on with his incoherent, "realistic" monologues. His movies are salvaged by good actors, and his sense of sound and visual storytelling. In any event, this book is a big disappointment. If you're expecting something comparable to Newmarket's Magnolia script book or even Faber and Faber's Boogie Nights script book, think again. The gimmick here is that the multi-colored script revision pages are published, instead of a single draft. The result is only 90 pages and, since many of the pages are script revisions, some of the pages are half empty. Also, unlike the previously published PTA scripts, there's no introduction. Unlike the Magnolia script, there are no stills. Hell, there isn't even text on the back cover of the book. This is as bare-bones as script books come. As far as I can tell, PTA doesn't really care about his fans anymore. He's stopped recording commentaries, writing introductions, or soundtrack liner notes. At least he still makes good movies.

I love being able to read P.T. Anderson's shooting scripts. His films are fabulous. I believe one of the negative reviewers partially misses the point when harping on the misspellings, the rambling monologues and how PTA's scripts are saved by the actors. The whole point of a script is that it is the first rough draft -- the framework -- upon which a movie is built. Of course there are going to be improvements between the script and the final product. The reason to buy this, or any, shooting script is to see how the project evolved from script to screen. In the case of Punch-Drunk Love -- much more so than Boogie Nights or Magnolia -- it's fascinating to find that almost every important scene was tweaked, sometimes in a major way, before this wonderful film reached the screen. ... It's a great chance to get some insight into the stages of the creative process of one of America's finest directors. ... BOTTOM LINE: Does this book have all the bells and whistles of the Boogie Nights and Magnolia shooting scripts? NOPE. Is it essential for the PTA fan? YUP.

One of my new favorites, "Punch-Drunk Love" is a unique and spectacular story about a man who doesn't know how the face the world around him. That man is Barry Egan. He has seven sisters who have verbally abused him since he was little, causing him to, now all grown up, get into violent outbursts. Barry's a quiet and shy guy, but if his button is pushed things can get out of control. He meets Lena, a very strange and peculiar girl herself. Love falls upon these two, but Barry's even facing more problems after being blackmailed by a phone-sex operator. But when all else fails, he knows that he has a love in his life in this very oddball and dark comedy.

I'm glad they came out with a script version of the film that you can buy. Paul Thomas Anderson has written a magnificent picture that's so easy to relate to , it's scary. The stuff that occurs you can see happening in real life. It's realistic and surreal at the same time.

This is the shooting script, on blue, pink, and yellow colored pages that symbolize when the revisions were made. Technical terms such as camera angels are included as well since it is a shooting script. Even little changes are mentioned as well. I love the dialogue that was written and you can tell that P.T. had Sandler in mind for the part, because nobody else would've been able to pull it off. While it's not your typical comedy, I thought it was hilarious. It pretty much follows the movie, although some things aren't there or changed due to changes that occurred during the shooting. It's pretty much all there for the most part.

"Punch-Drunk Love: The Shooting Script" is a great purchase for anyone who loved the film. It may not had been the most popular movie to come out of 2002, but it's #2 on my list. The pages fly by with ease, and when you're done with it you want to read it again. I can't wait for this movie to come out on DVD. I'm counting the days. A spectacular script for a spectacular film.

Malina is a strange book that provoked my interest in what it means to love and live -- is the love-obsession justifiable? When there is noone else but a single person in your life, because you are just this way, does it mean that there are many people like this one but you have not found them yet. Because Bachmann's stream-of-consciousness style, the book is really difficult to follow, especially the part 'The third man' but once you have the patience to read and think continuously, to be shocked and still know who you are -- it gives an enormous pleasure to know a little more of the world that is inside!

Ingeborg Bachmann is a truly great and underappreciated writer, and this is her masterpiece. It is also the earliest novel I'm aware of on the subject of the lasting impact of child abuse in adult life, written at a time when the possibility of such an experience was almost unspeakable. Her approach is never polemical, but dreamy and suggestive, and the ending is one of the most devastating in literature. Check out her poetry, too.