When the Star Wars Radio Drama made its debut in 1981, on the NPR network, it was an instant success. Saga creator George Lucas sold the rights of the story to his alma mater for a dollar After that, a highly creative team took on the task of adapting the very visual film, for the radio medium. The end result is an enjoyable and very worthwhile, experience that makes the film come alive all over again, despite the lack of any of the film's landmark visuals

Using sound effects, the original score by composer John Williams, and with 2 key actors reprising their roles from the film, the radio drama boasts lavish production values. This is not some cheesy adaptation that they slapped together, quickly and put the name Star Wars on it, hoping for the best. Author Brian Daley's radioplay expands on the film verison by including additional "scenes" and backstory. Directed by John Madden (Shakespeare In Love), the radio drama has a top notch cast. Mark Hamill and Anthony Daniels add some additional class by recreating their film roles as Luke Skywalker and C-3PO respectively. Brock Peters as Darth Vader, makes the part his own, while Ann Sachs gives Leia the right amount of spunk. Perry King, as smuggler Han Solo, may not be Harrison Ford, but he could be Solo, and that's what counts. Bernard Beherns as Ben Kenobi and the late great character actor, Keane Curtis, as Grand Moff Tarkin, round out the main cast, with style. While I was listening to this, I got the impression that, even though it must have been a lot of work to put this production together, it seems like everyone had a good time too. Sure some of it may sound a bit off at times, because most of us know the film so well. But one must remember that no one working on the project set out to just copy the film. The Star Wars Radio Drama captures the sprit of its of source material perfectlly...and that's all it needs to do.

I highly recommend this presenation. The Star Wars Radio Drama on CD contains all 13 episodes as originally presented, spread over 7 discs, with a running time of about six and a half hours. The Empire Strikes Back and Return Of The Jedi radio drama adaptations are also available as well.

All the sound effects and music added much as well as having two members of the original cast from the movies(Mark Hamil and Anthony Daniels)was wonderful!! Anne Sachs was brillient as Leia and Perry King was magnifesent as Solo although getting used to King's voice instead of Ford's was a bit difficult.I enjoyed getting more background on Luke and Leia. Brian Daily wrote a wonderful script!! All in all this series should be re-brodcast.

At first, the idea seems bizarre, even ridiculous. Star Wars, a movie best known for its vistas of alien worlds and epic battles, as a 13 part radio drama? No way would it work, right?

Well, unless you have the cold heart of a Sith, Star Wars did indeed translate well from the silver screen to radio, thank you very much. Yes, Star Wars' visual effects are a big part of the magic of the saga, but the heart and soul of George Lucas' galaxy far, far away are the characters and the storyline. And while the movie is satisfying on its own, the radio dramatization written by the late Brian Daley takes us beyond the movie....beyond the screenplay...and even beyond the novelization.

By expanding the movie's story beyond its two hour running time, the Radio Drama allows us to catch glimpses of Luke Skywalker's life BEFORE the movie. It tells us how Princess Leia acquired the Death Star plans....and what, exactly, happened to her during her interrogation aboard the Empire's battle station...(it is an interesting scene, but not for the squeamish, by the way). In short, by expanding the story to nearly seven hours, characters we loved on screen acquire depth only equaled by novelizations.

The Radio Drama makes extensive use of material written (and in some cases filmed) for A New Hope's silver screen version but cut for editorial or technical reasons. Also, Ben Burtt's sound effects, John Williams' score, and the acting of Mark Hamill (Luke Skywalker) and Anthony Daniels (See Threepio) give the whole project its "true" Star Wars cachet.

According to George Gilder, tv as we know it , will soon become antiquated and we will only see it in the Smithsonian. What Gilder is talking about is giving back the power of choosing programming to that of the viewer.

Fiber and wireless, he is amazingly correct in predicting the technology trends, can't wait to see what he is going to talk about in his next book.

George Gilder has been hailed as one of the foremost science and technology writers for Forbes Magazine. His book, Wealth and Poverty, was one of the "Bibles" of '80s supply-side economics. Although I may not totally agree with his economic views, his extensive research of telecommunications and how this vast and intertwined conglom of industries affects humanity is unquestionably thorough, thought provoking, intellegent, and timely. Some craggy rocks which potentially ground Gilder's predictions of a tidal wave on the technoscape are FCC auctions; mis-directed consumer advertising; lack of consumer education on what cell phone towers "really" are (you know, fear of radiation, cancer scare, etc.), and the inability of competing telecoms, cable companies, computer megopolies, etal to install fiber-optic cable and satellites at a break-neck enough pace. All I know is, wherever TCI has tried Internet services, the "Alpha Test" consumers not only wouldn't give it up after the test was over, some people would not move to an area where they couldn't purcase the service! So readers: Ride premiere prognosticator Gilder's technowave, and be one of the first to hang ten in a prospective post-Mellenium promised land! And be sure to pick up his other books, such as Microcosm. I believe he is updating this for 1998, and he's "write-on" in his first edition. Surf's up!

This compendium of travel stories provides essays by Isabel Allende, Jan Morris, and more notable travel writers and provides an unusual focus on experiences of living abroad. Essays range from the humorous to the observation of cultural differences as they provide both entertaining and enlightening autobiographies embracing the overseas living experience. A House Somewhere is perfect as a leisure literary pursuit and highly recommended for the traveler who contemplates residency in another country.

A collection of essays and stories about living in foreign countries. Books about this usually contain certain predictable themes. The writer is usually English or American, doesn't have a regular job, and the natives among whom he lives are lovable eccentrics with fractured English. It's commonly an island, or somewhere remote and warm, and when we next read about the writer he's no longer living there. (Jan Morris points out of these cliches in her or his introductory essay, "Some Thoughts from Abroad")
Some of the pieces fall into these obvious categories but one writer is Indian, one Welsh, and one South American. In three of them the foreign country is the United States. Others are set in the Philippines, Paris, Provence, Italy, Kenya, Singapore, Mexico, Ireland, Morocco, Japan, China, Egypt, Thailand, Turkey and Greece. Tragedy strikes in two of them but the mood is mostly light-hearted and humorous. I enjoyed them all. They made me appreciate electricity, paved roads, and being able to turn on a faucet and drink the water.

It could be an exaggeration when I call the Kobbes Opera Guide a Bible for opera lovers. But it's a very resourceful book on operatic composers, performers and the rich history of opera from its early days in Baroque Italy. Everything you want to know is here...the opera comique style, Baroque masters such as Gluck and Handel, the Rossini operas, bel canto beauties such as the Donizetti operas, German operas and French operas. It is a very monumental source of information on singers as well, sopranos from the very talked about Maria Callas (1923-1977), Joan Sutherland, Beverly Sills, and recent singers as Renee Fleming and Sumi Jo, tenors Placido Domingo, Nicolai Gedda, Luciano Pavoratti, Jon Vickers, and their careers. A must have for any true opera buff. Immerse yourself into the stories of operas and its fascinating background in music.

The new format of this magnificent reference book is the most outstanding feature of this revised, updated work. The prior Kobbe's clumsily, but not wholly improperly , catlogued composers like a taxonomical excercise. The genus being the chronological era and the species is the nationality of the composer. Thus German composers in the nineteenth century with singular emphasis on Wagner are grouped; then Italian opera for that century, and so on through Europe. Then we come to the twentieth century and all over again with this format but encompassing the world by nation. The revised volume has nothing more outstanding than an alphabetical arrangement for the subjects, but how outstanding and important this seemingly simple change is cannot be overestimated. This is a required reference book for opera afficianados whatever level of knowledge of the subject one possesses.

This is undoubtedly the best analysis of the High Court of Australia ever compiled. It is easy to use, being fully indexed, and it covers every aspect of the court from biographical details of Judges to analysis of important decisions. It is a great mixture of history and information.

The individual entries have been written by eminent judges, jurists and lawyers in Australia. It was edited by 3 of the most well regarded legal academics in Australian history and is a terrific reference source. I can recommend it to anyone with an interest or need to look in detail at the Australian legal system. There is no other work with such detail and information in one volume.

This volume represents the most comprehensive bank of information on the High Court to date. With no less than 800 pages dedicated to the various aspects of the Court's history, personalities and institutional structures, it is a must-own for the students of the High Court.

The book is organized encyclopedia-style, with entries arranged alphabetically from the AAP Case (1975) to Ziems v. Prothonotary of the Supreme Court of NSW (1957). The entries are contributed by various Australian legal scholars, and cover a very wide range of interests. My personal favorite entry is the one on 'Jurimetrics' by Tony Blackshield.

Despite the hefty price tag (to match such a hefty book), this is one book that is well worth owning. Toting it around may give me permanent back problems, but I'm willing to risk it.

This book combines the seemingly incompatible: it is spiritual, practical and amusing to read at the same time. The author has years of experience of meeting God in prayer and he shares it with you in a way that makes you feel God so close that the moment you put the book down you want to try...

Excellent for poetry lovers everywhere. Hecht's essay alone is worth the price of the book. Herbert's poetry still delights, challenges, exalts, reveals, inspires after almost 400 years. T.S. Eliot said first rank Christian poetry must express how a Christian actually feels in relation to loving Jesus, not how one wants to feel or ought to feel. In this, Herbert excels almost all religious poetry in the canon.

While at work in the college library, I passed by this book. I flipped through the pages, thinking I'd only take a brief look. I realized that I had seen these photographs before, and I became fascinated. I learned so much about the photographer through this book. It is a fine collection of Hine's work overall. It shows classic photos from everything he became involved in, such as child labor, women at work, and the working poor.

Undoubtedly, Microwave Circuit Design is a book of great help for anyone who is directly involved on the high frequency design industry. Containing all you need to know, from basic parameters and concepts to real design tips, Microwave Circuit Design is a book you cannot ignore. Its contents include all the basic transceiver building blocks, for front end and IF stage design.

Somewhere in France, Michel Montaigne was working on his immortal "Essays." Gibbon described him as the only man of liberality in the 16th century, aside from Henry IV. His honesty, his good will, and his probing nature have recieved the acclaim of posterity.

Somewhere in Italy, the same time, a more representative portrait was being painted -- the Autobiography of Cellini. While it has the same honesty, it lacks the grace (written in a colloquial style), the liberality, and the meditation of Montaigne. It is probably more represantative of the Renaissance man, and of modern man altogether. Reading Cellini, one comes to understand what Camus meant by the "culture of death" at work in Western history.

Written as a novel (seen, in fact, as a progenitor of the Romantic novel), the Life of Cellini is a remarkable glimpse into the Italy and France in the times of Michelangelo and the Medici. Characters like Francis I of France, Duke Cosimo, Pope Clement VII, and artists like Michelangelo and Titian come to life in brilliant colors. But one shouldn't mistake the intent of Cellini's book as painting a portrait of his times -- no man on earth was ever so in love with himself, and HE is the subject of this book (I had to cringe every time Cellini, about to describe something fantastic, stops and declares "... that is the work of historians. I am only concerned with my affairs..." and leaves off).

I can't say for sure, but the veracity of this book must be almost incontestable, for the most part. Cellini was simply too shameless to be too much of a liar. A few times he tests our credulity: "mistakenly" leaving France with the King's silver, an arbesque "accidentally" firing and killing a man, etc. For the most part, however, we get the whole truth, and in fact more than we wanted to know.

Despite the fame and prestige Cellini comes to, he is little more than a common street rogue and villian. In the course of the book, he murders three people in cold blood, each murder worse than the last (the third time he shoots a man in the throat over a saddle dispute... on Good Friday). He delights in describing his violence ("...I meant to get him the face, but he turned and I stabbed him under the ear."), and he revels in warfare, brawling, and the misfortune of his enemies. Aside from the three murders, there are innumerable foiled and aborted murder attempts. Cellini's sadism reaches new heights when he forces one of his laborers to marry a whore, then pays the woman for sex to humiliate the man. In his descriptions of his crimes, his many run-ins with the law, and his violent disposition, Cellini seems completely unaware of himself and without shame. In fact, the intent of the book is to show him as the virtu -- a hero of divine virtue in a world of lies and deceit.

The portrayal of King Francis alone makes this book worthwhile. He is everything historical events point him out to be. Generous, jovial, and shrewd. The descriptions of the years Cellini spent as Paul III's personal prisoner are another high point, unfortunately capped by the lengthy and horribly tedious poem, "Capitolo," where Cellini clumsily elaborates on his suffering.

As a history and an autobiography, there are few greater works. But aside from its historical and literary value, the Autobiography of Cellini was just fun to read. The audacity and conceit of this horrible man is almost comical, and the loose and efficient prose makes it a smooth read.

Cellini's story reads better than a novel. He is the quintessential Renaissance man. In his service to popes, kings and a slew of dukes he was a goldsmith, painter, sculptor, soldier and he may have had more near death experiences than any other that I have ever read about. Of course, his tale leaves himself always and forever blameless in each conflict, betrayal or other unfortunate episode that he finds himself in, which is tremendously entertaining. At first, the reader is seduced into believing that this man has been wronged countless times by a world full of the most slippery types of people. By the middle of the book, however, it dawns on the reader that Cellini must have played some part in creating the misfortune and danger that he is constantly in. Cellini's writing evokes vivid images of the places and people that he meets. One of the most engrossing stories in the book is Cellini's imprisonment and later escape from the Castel Sant'Angelo in Rome, where he was confined by order of the Pope (who, according to Cellini, was bent on having him killed in order to prevent his own embarrasement). His escape from the place is a mix of (apparently) classic methods (he climbs down the side of the building using knotted bed sheets!) and terrible misfortune (he breaks his leg, is nearly killed, and is also attacked by mastiffs while crawling away for his life!). Very soon after having escaped the prison, though, he was again imprisoned by the Pope in a wretched and dank little cave in the Pope's own garden (where Cellini claims to have had mystical visions). Cellini has many other adventures in Italy and France (and on his journeys back and forth). Each tale is centered on how he creates his artworks in the service of some nobleman, how the nobleman is always astonished at the work, how Cellini is then betrayed by someone he was kind to (which, through no fault of his own, often puts him in the bad books of the patron). Cellini frequently ends up in a fight where he either wounds or kills the person, and then goes on his happy way. There is a great deal that one could say about this book and its author. It will suffice to state here that the book is a wonderful read, it offers excellent insights into life in the 16th century, and (as is true on my part) it makes the reader crave just half the adventure that this fellow has had.

This book covers the eventful life of a passionate craftsman who lived through major events of the Renaissance. In Florence, Rome, and Paris, Cellini managed to gravitate to the most powerful political and artistic personalities, but his relationships with them were always bumpy. Cellini had an artist's temperament and more - his passionate temper and sense of righteousness, combined with the unscrupulous nature of many he encountered, caused constant friction and turmoil which make the book a nonstop and occasionally violent thriller. The book's one disappointment for those interested in history is the lack of extensive description of the places where he worked and travelled. It's centered on Cellini, his relationships and activities, and his craft. He does however have a great description of the defense of Rome in 1527, in which he was firing artillery from the top of Castel St.-Angelo. George Bull rates five stars for a great translation which captures the spirit of the original, its passion, wit, sarcasm, bitterness and insight. Given the work was written with Florentine colloquialisms, this is an achievement. Highly recommended.