This Author had me in mind when this was written. She lets the reader in on the "secrets" of Massage and the importance of maintaing the benefits long term. The sleep positioning program was incredible! No more tossing and turning! Thanks Cynthia!

"Stop The Pain" by Cynthia Van Der Smissen, great book, nice author, well written in terms that can be understood by a complete novice,easy to follow diagrams, mixed with a refreshing sense of Humour. The introduction has you smiling & liking the author before you even start into the technical stuff. Large Text which is easy to read whilst practicing the "moves". Well Done! I have had a few years of severe back pain & my doctors have told me there is nothing else they can do to help me. Buy this book.... It really does help, I can vouch for that, after months of not sleeping due to pain my wife massaged me using the techniques in this book & I could feel the benefit straight away, I slept right through the night! .

The authors ask, "Can women reach the top of America's largest corporations?" They can and they have...but rarely. This book examines the results of a three-year study of women executives in "Fortune 100" companies. First published in 1987 and then in a revised edition in 1992, Breaking the Glass Ceiling is not wholly current with the situation in these same companies today. (Question: How many have lost their lofty rating they have under-utilized the capabilities of their female employees? Hmmm....) From my perspective, however, most of the book's assertions and conclusions are still valid. The so-called "glass ceiling" has been raised since 1992 but it is still there. Although no long legal, it remains a major barrier nonetheless.

Think about it: You can see where you want to go...you know what you must do to get there...and you are confident of your abilities. So your upward journey within the organization begins. Just as Dorothy saw the distant glow of Oz, you see just as clearly your own destination. It excites you, it inspires you, and you begin to think about how wonderful it will be to get there. As you carefully ascend, you encounter what seems to be a pane of glass. Your face is flush against it. You can still see your destination above you, so near and yet so far. You have hit the "glass ceiling." Now what?

The authors organize their material within eight chapters whose titles correctly indicate the sequence of their analysis:

The Ceiling and the Wall: The Double Barrier to the Top

Up or Out: How Women Succeed, How They Derail

Perception Is Reality: The Narrow Band of Acceptable Behavior

Lessons for Success I : It's Not Enough to Work Hard

Lessons for Success II: It's Not Enough to Work Smart

Breaking the Glass Ceiling: Making It to General Management

Hitting the Wall: Facing Limits, Finding Alternatives

The Future: Can Women Make It to the Top?

Where Are They Now? According to the authors, they are encouraged by two trends: the development of a new "business imperative" which requires organizations to utilize fully all of its human assets, and, the renewal of "legal and legislative pressures." The former is best understood in terms of enlightened self-interest; the second is best understood in terms of the threat of litigation if prevailing laws against gender discrimination have been violated. Whatever it takes. The authors observe: "While there is still a long way to go, progress is being made. Some have broken, or at least cracked the glass ceiling, while others have found ways around it. All have treated the last several years as a learning experience and have applied their own advice in facing the challenges of pioneering women." The "business imperative" as well as "legal and legislative pressures" may have done much to eliminate the "glass ceiling" within organizations. Well and good. But a significant challenge remains: To remove it it, also, from within the minds of those who have been its victims.

Breaking the Glass Ceiling (bold face) helps us to measure what has been accomplished since 1987 when it was first published; 14 years later, it reminds us of what remains to be done.

Van Morrison is a great artist with many talents. His songs are deeply composed and the lyrics puts you at ease, it relaxes you and encourages thought about the world around us. The beauty of our world and the enviroment in which we live in is precious

This is perhaps the worst New X-Men TPB of the lot, possibly because the stories in collection are rather slow-paced, and littered with poor artwork from Igor Kordey. I don't know why he has to draw everyone with wrinkles all over - Xavier, Emma Frost, Jean Grey... none escaped. Nevertheless the standard set by New X-Men is maintained. It's also nice to see cameos from X-Men who are not the main characters this series, like Archangel, Storm, etc. Also included appearances from younger X-Men like Siryn, Multipe Man, etc. Overall an acceptable read. Get it to complete your collection.

Grant Morrison's writing in this book is up to his usual great standards but, this time out the inconsistant art really hurt's the overall enjoyment. As many know, Frank Quitely, the book's "regular artist" can't keep a deadline to save his life, so we have Ethan Van Sciver as his back-up, Sciver, while having a style that dosen't really mesh with Quitely's still look's good on the X-Men and during the issues in this book, he really started to come into his own. Then, he start's having trouble keeping up, so Marvel does the worst move they have done in recent year's by bringing Igor Kordey in to become the book's main artist. Kordeys art is just plain ugly. Totally clashes with Morrison's style of writing and Kordey draws a couple of the pivotal issues of this storyline killing the flow of the story. Still, through all the ups and downs of the art, you still have Morrison's awsome writing injecting these characters with excitement and life for the first time in many years, however watered down it is.

Well first off i have to say New X-men is the reason I love comic books. It has amazing storytelling, amazing artwork, and amazing characters. Grant Morrison never, ever fails to amaze me. His storytelling is definitely one of the best in comics (along with Jeph Loeb and Kevin Smith). He just has such vision and depth and thats one of the main reasons this comic book is an awesome read. Then the artwork, I think Quietly's, van Sciever's, and Kordey's work are all top notch and if they got any better it would be sickening. I've always liked Quietly's artwork since the first time i saw it. Ethan van Sciever's art work is also great. The way he makes Beast look is awesome. As for Kordey I really don't know what some people are complaining about, I think his art work is really cool. Now I know everyone has their own opinions and i just think some people want to complain about the smallest thing. Here's a little piece of advice. EVERYONE IS DIFFERENT. Picasso was different from da Vinci but just because he was different didn't mean he was a bad artist and just because Kordey's is a little different doesn't mean he is a bad artist. So what i'm trying to say is I liked Kordey's, Quietly's, and van Sciever's artwork the same and for anyone who hasn't read these books, I suggest you do. You will not be let down

This book is a disappointment.The bibliography and discography are good, and there is much information and opinion about the artist and his work.However there is little attempt to come to grips with the person or his art.There are many digressions which refer to other performers not relevant to Van Morrison, but they are mentioned simply because their music was around at the same time.Too much space is given to describing live performances, which means little to those of us who were not there.Discussion of Van's songs is superficial.So much remains untouched:his musical and non musical influences, his spiritual searchings, his Irish heritage.I am still waiting for the definitive book on Van Morrison, both the man and the music.

This book is a meaty little tome, 392 pages of entertaining text with a small, b/w picture section in the middle. I got my copy two days ago and have found it hard to put down since. Despite his PhD in poetry and myth, Hinton doesn't go for academic jargon at all. The writing is brisk and down-to-earth. Hinton is confident not only in his literary knowledge but also in his encyclopedic knowledge of popular music, which enables him to put Van in interesting contexts at times.

Still, I've noticed a few factual errors and odd omissions (he doesn't know that the Bottom Line '78 MC is Peter Wolf), and the writing sometimes seems rushed, especially the last few chapters. Also, there are lapses in tone (Hinton will often jump out of his authorial character to address the reader with a chummy question) and paragraphs that jump from one topic to another disconcertingly.

Hinton seems to have about five main goals.

To argue that Van Morrison is indeed a very fine poet, albeit one who's poetry relies on its musical context. Hinton takes issue with the Johnny Rogan and John Collis books on this subject. To assert that VM's artistry is at its best during live performances. To demonstrate this, Hinton goes into great detail comparing the oft-booted Fillmore West 1970 show to MOONDANCE, arguing that the live versions of the MOONDANCE songs are more vital and interesting than the studio versions. (I can't agree in this particular instance - and *I* personally tend to feel that while the argument might be true with Van's '90s work, the studio was where Van tended to be most comfortable and vital in the '70s and early '80s.) To make a strong case for albums that critics often denigrate, such as TUPELO HONEY and COMMON ONE, although he isn't afraid to come down hard on some titles (HIS BAND AND THE STREET CHOIR, A PERIOD OF TRANSITION). And he comes right out and says that one of his primary motivations was to champion VEEDON FLEECE, an album that he feels deserves a stronger status than that of "cult favorite." To write a book that functions as a clearing-house of VM information. In this, he succeeds fairly well. There is very little Van knowledge, lore, and minutiae that is absent. Hinton has done an amazing amount of secondary research and incorporated it generously into the book. He has even immersed himself in back issues of THE VAN MORRISON NEWSLETTER and WAVELENGTH as well as many underground tapes and boots (from the archives of Geoff Wall), although I wish he'd taken more time to let all the info. digest before spewing it out in the book, sometimes rather cluelessly. Overall, Hinton's use of secondary research is one of the book's strengths. Unfortunately, there seems to be little *primary* research; most of his interview material seems gathered from the work of his predecessors: Ritchie Yorke, Johnny Rogan, Steve Turner, and even John Collis. To avoid the "wounded-journalist" bitterness that overtook the Rogan and Collis books. Hinton doesn't stint on reporting many instances of VM's rude, SOB behavior, and he doesn't try to defend it, but he also avoids moralizing about it or allowing it to (dis)color his view of the music. I'm sure Hinton has several other agendas in writing this book, but these are the five that stand out for me. I do recommend the book. Although the other books do more face-to- face research, and although the Turner book is the most cogent and revelatory regarding Van's spiritual concerns, this big clearing-house project may be the most purely entertaining volume yet written on the subject.

Brian Hinton's *CELTIC CROSSROADS* is one of the most lucid and comprehensive critical biographies available on the enigmatic Irish singer and songwriter. The title of Hinton's book is an allusion to both the ethnic roots f the Irish singer and the singer's love of American Blues music.

Hinton's encylopedic knowledge of rock 'n roll music provides a well-researched query into Morrison's every expanding discography. Especially noteworthy is Hinton's critical commentary on almost every individual song on each Morrison album. The main strength of Hinton's biography is the author's ability to put Morrison's creative output into a cultural context.

Indeed, if the book has a failing, it is Hinton's proclivity to get lost in a tangential dicussion which only illuminates his knowledge of pop music, not the music of Morrison. In one chapter, he connects Morrison's music to bands as divergent in style as Yes, the Sex Pistols, and,(as humorist Dave Barry would say)I'm not making this up, the Spice Girls!

The new Van Morrison fan may thus be better served by Steve Turner's lavishly illustrated *VAN MORRISON: TOO LATE TO STOP NOW*. However, the extensive bibliography, discography, and filmography make Hinton's book a necessity for any Morrison fan who wishes to delve deeper into the music of this iconoclastic artist.

On the plus side this small book has a fair bit of information about Van's works.However, the author is very opinionated and off-beam at times.He disparages some great Van songs.He calls 'Ballerina' a "lethargic meditation".'Autumn Song'is tagged "an insubstantial fragment".He says 'Summertime in England' is "hopelessly indulgent" and "pretentious".These are excellent songs and help create the distinctive Van Morrison mood which so many fans love.Humphries includes many cliches in his writing,for example, words such as "seguing","guesting" and "encoring".Two albums, "Hard Nose the Highway" and "Hymns to the Silence" are called "curate's eggs" (ie good in parts), another cliche.Although he quotes Van emphatically denying that he is a rock n roll artist, Humphries throughout places Van in a rock n roll context.It is little wonder that Van gets annoyed with journalists when so many of them are not up to understanding him and his music.Fans will get something out of this book, but not a great deal.

Patrick Humphries' concise CD sized booklet lives up to its name. It is highly recommended for both new and old fans alike.

Humphries' review of Morrison's albums will provide an excellent starting point for the neophyte Van fan who may well be overwhelmed by the abundance of choices in the back catalogue of Van Morrison.

The seasoned Van fan will likewise enjoy (and more than likely disagree!) with Humphries' knowledgeable critique of the albums.

Patrick Humphries obviously knows Van's music and Van's life.This is a work of respect , well illustrated and well written. He isn't afraid to show his personal likes and dislikes in Van's extensive discography.All in all , an excellent overview of over 30 albums and a good introduction to the neophyte.

I do not advise purchasing this book. The author seems focused on Morrison's anti-journalism to the extent that he seems to lose sight of his subject. Since Morrison is difficult (if not impossible) to interview, the author has been left with little more than the music to review. His reviews are passable but his insistence on noting numerous incidents where Morrison is arrogant and/or unappreciative of others turns the book into one long, cynical complaint regarding Van's character. The ending alone, wherein the author quotes Morrison's obscene rant to an audience member who requests a song from him, is depressing enough for me to recommend anyone to pass on this one. Sometimes ignorance IS bliss. Go buy Saint Dominic's Preview and listen for the real story!

After reading John Collis' VAN MORRISON: INARTICULATE SPEECH OF THE HEART, I'm not sure of the author's intention. In the introduction, Collis claims that he "offers only respect, and simply wants to get amateur psychoanalysis out of the way at the outset." During the course of the next 200 or so pages, however, Collis revels in shameless psycho-babble of the lowest sort while repeatedly criticizing Morrison's notoriously reticent personality.

Another criticism is that Collis seemed to focus a disproportionate amount of his ten chapter biography on Van's years with Them and Van's early solo career. The first seven chapters roughly cover Van's childhood in Belfast up to the release of the WAVELENGTH album in 1978. It is thus left to the remaining three chapters to cover a twenty some odd year era which many fans consider to be Morrison's most consistently rewarding years.

Considering that Van has, on average, released an album every year, Collis' focus on this early era comes at the expense of adequately covering the middle and later periods of Van's career. Indeed, the overall feel of Collis' book is that it was rushed into to print to capitalize on the fact that no Van biographies were available when it was published in 1996.

Fortunately, with the publication of Brian Hinton's CELTIC CROSSROADS, this is no longer the case. Collis does offer some insightful comments on Van's albums, but I would recommend Patrick Humphries' THE COMPLETE GUIDE TO THE MUSIC OF VAN MORRISON to fulfill this task. Overall assessment: inconsistent and incomplete. Not recommended.