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Part memoir, part fond walk down memory lane, "Backstage" provides insights to the creation and hosting of one of America's all time successful games. Peter Marshall recants many stories, some of which he told on the E! True Hollywood Story of the "Squares" and others are brand new.
He starts off with a quick summation of his early career, and how he was offered the emcee job of a lifetime. Then he delves in to all the people behind the scenes that were important to the show. The book starts running when he reminisces about all the stars we grew to love over the years: Paul Lynde, Wally Cox, Rose Marie. While each section of the star could have been longer, he sheds some light on each one admirably.
Throughout the book, Peter comes across very polite and respectful. It's almost his persona on the Squares. He allowed the stars to shine by taking a somewhat backseat approach to hosting, yet you realize after watching it he was the glue that kept them together. In this book, he is the mere storyteller, and showcases everyone else.
What's more fantastic about this book is the CD that accompanies it. From an album entitled "Zingers from the Hollywood Squares" that was released in the 70's, this CD holds some of the Squares funniest one liners. That alone is worth the cost of the book. I had the album as a kid, and listened to it constantly, and to this day, recalled many of the jokes still!
This book was a long time coming, and needed. For many people, The Hollywood Squares wasn't a showcase for has beens, but a welcome comedic relief during some of our nation's most turbulant times. Thanks to Peter Marshall for writing this, and bringing back all the laughter!
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With that said, back to the book at hand. Sacred Mirrors is probably the book most people who want to get an idea of Grey's art should buy first. I find it slightly more accessible than Transfigurations, and it does not demand any knowledge of Grey's previous work. For those unfamiliar with his work, he paints almost all of the systems of the body in a transparent fashion, layered on top of each other. In his paintings you will see bones, nerves, blood vessels, chakras, and auras all at once. It can be overwhelming, but careful study of the paintings can make you see ordinary processes like kissing in a whole new way. And if you keep looking deeply at his paintings, things will keep revealing themselves. He also paints deities, from Avalokiteshvara to Jesus, with loving detail. This is definitely a great coffee-table book (and so much more!) for anyone interested in how transcendental theories of energy would manifest themselves visually. Grey's book also makes delightful entertainment for any kind of trip. Overall a sound buy for almost anyone who gets that feeling, sometimes, that there may be things going on in our physical reality that we just can't percieve. Grey can see them, and he has shared them with us.
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The real treat is that the pages contain an incredible amount of intensely interesting background information (and tons of photos!) on Alex's early works, as well as insightful commentaries by Albert Hoffmann, Stephen Larsen, Donald Kuspit, and Ken Wilber.
I have to say... I bought my copy at a higher price directly from Alex Grey's website (...). It showed up a few days after ordering, smelling of freshly printed ink, nicely wrapped and (best of all!) signed by Alex Grey.
While it is true that Alex Grey's most recent book celebrates the Journey within all of us, it also offers the reader the opportunity to be subtly transformed by the power of the imagery and lyrical writing contained within - something that we can all benefit from during these disturbing days and into the uncertain ones to come.
For this reader, the most exciting aspect of this book is the announcement of Alex Grey's plan to build a Chapel to house the Sacred Mirrors.
I have no doubt that this Chapel will be one of the wonders of our age.
May God Bless Alex, Allyson, and Zena Grey and give them all the strength, luck, and power to support each other into the distant years to come.
- G.F.
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The story revolves around a Batman and Robin-type team of the Confessor(to whom Busiek gives both Rorshach-like angst and a new twist on the "Dark Knight" mold) and his new side-kick, Altar Boy. The same sense of wonder at these costumed super-beings that permeated "Marvels" is in full effect here. There are bible-thumping heroes, an X-men-like supergroup, a superhero-phobic Mayor hell bent on registering all costumed crusaders(a la the X-men again) and requisite Alien Invaders (summoned in the previous graphic novel). There's a nice balance between continuity (the unsolved Hill murders, Altar Boy's revealing apprenticeship with the Confessor, the Aliens) and stand-alone randomness here(the final, doesn't-quite-fit-here Hangman time story).
You don't have to read the first one to follow along, but if you have, its all the richer. I love this series. The first two have been flawless. I also love the Inhumans, Planetary and the Watchmen as other examples of excellent, character-driven graphic novels.
"Confessions" is the second Astro City collection, and the first extended storyline. (The first trade paperback, "Life in the Big City," was a collection of single-issue stories, this is one story over six chapters). Brian Kinney has come to Astro City in the hopes of becoming a superhero, a wish that seems on its way to fulfillment when the mysterious Confessor takes him under his wing. But the city is troubled at the moment. A serial killer terrorizes the people of Shadow Hill. Public sentiment is turning against superheroes. And Brian's mentor is not at all what he appears to be.
For all of the great work Busiek has done, this book is easily my favorite. It's everything that makes "Astro City" great -- classic archetypes twisted around, lots of mysteries, a logical but unexpected point of view... it is superhero storytelling at its finest.
This book also contains the short "The Nearness of You," which -- I'm sorry, Alan Moore fans -- gets my vote for finest single issue comic book story ever. It is tender, heartbreaking and wholly uplifting all at the same time. I still get teary-eyed when I read it.
"Astro City" is set to finally return to comic book shelves. If you haven't read it before, get books like this for a primer, then jump on-board!
Medea has one problem, however. Aside from the fact she is a witch, she is a barbarian, a non-Greek. The Greeks used the word "barbaros" to refer to all people who weren't Greek, because if they didn't speak Greek, it just sounded like "bar bar bar" to the Greeks.
So after Jason and Medea settle in together back in Greece, his homeland, he decides that his interests (and Medea's) are better served if he marries the daughter of King Creon of Corinth. Medea gets jealous, poisons the woman, and then kills her two children in revenge.
Medea is an absolutely riveting character, whose tragic problems are those of all woman who have left their homes and families to follow men to foreign lands, only to be scorned by them in the end. The speeches of Jason and Medea are remarkable point-counterpoint presentations which reflect the deep influence of the sophists of Euripides' day. Medea sounds, at times, like a proto-feminist. She is one of the most enduring dramatic creations of all times, revealing with each line the remarkable genius of Euripides, the most modern of the three great Greek tragedians
Another important thing to remember in reading "Medea" is that the basic elements of the story were already known to the Athenian audience that would be watching the play. Consequently, when the fact that Medea is going to kill her children is not a surprise what becomes important are the motivations the playwright presents in telling this version of the story. The audience remembers the story of the Quest for the Golden Fleece and how Medea betrayed her family and her native land to help Jason. In some versions of the story Medea goes so far as to kill her brother, chop up his body, and throw it into the sea so their father, the King of Colchis, must stop his pursuit of the Argo to retrieve the body of his son. However, as a foreigner Medea is not allowed to a true wife to Jason, and when he has the opportunity to improve his fortune by marrying the princess of Corinth, Medea and everything she had done for him are quickly forgotten.
To add insult to injury, Jason assures Medea that his sons will be well treated at the court while the King of Corinth, worried that the sorceress will seek vengeance, banishes her from the land. After securing sanctuary in Athens (certainly an ironic choice given this is where the play is being performed), Medea constructs a rather complex plan. Having coated a cloak with poison, she has her children deliver it to the princess; not only will the princess die when she puts on the cloak (and her father along with her), the complicity of the children in the crime will give her an excuse to justify killing in order to literally save them from the wrath of the Corinthians.
This raises an interest questions: Could Medea have taken the children with her to her exile in Athens? On the one hand I want to answer that obviously, yes, she can; there is certainly room in her dragon-drawn chariot. But given her status as a foreigner, if Jason goes to Athens and demands the return of his children, would he not then have a claim that Medea could not contest? More importantly, is not Medea's ultimate vengeance on Jason that she will hurt him by taking away everything he holds dear, namely his children and his princess bride?
In the final line of the play the Chorus laments: "Many things beyond expectation do the gods fulfill. That which was expected has not been accomplished; for that which was unexpected has god found the way. Such was the end of this story." This last line has also found its way into the conclusion of other dramas by Euripides ("Alcestis," "Bacchae" and "Andromache"), but I have always found it to fit the ending of "Medea" best, so I suspect that is where it originally came from and ended up being appended to those other plays sometime during the last several thousand years. However, the statement is rather disingenuous because one of the rather standard approaches in a play by Euripides is that his characters often deserve their fate. In a very real sense, Euripides provides justification for Medea's monstrous crime and his implicit argument to the Athenian audience is that the punishment fits the crime. However, Athenians would never give up their air of superiority; at least not until foreigners such as the Macedonians and the Romans conquered the self-professed cradle of democracy.
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It had great appeal on his experience with life.The love scene
was exciting to read about.The words just jumped at me and grabbed me into that adventure of life experiences that Eric took.He was learning as he went along,He also let his emotions take the best of him in some instances.The only thing that I can say is that this book was great also exciting.
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I don't normally read "showbiz" books, but bought this on an impulse, as it had so many great photographs. What was such a nice surprise is that Peter Marshall and his co-author Adrienne Armstrong, are excellent writers. They make the reader feel like he is sitting in a cozy bar with Peter, drink in hand, listening to wonderful tales about the making, and eventual breaking of Hollywood Squares.
Peter is refreshingly honest, delightfully candid, yet never disrespectful when discussing the celebrities and contestants who appeared on the show over the years.
An added bonus is the CD that comes with the book.
I'm a new Peter Marshall fan, who hopes he and his partner write again. Soon.