My thanks to Dr. Leonard Warren for this absorbing biography of a woman I personally had never heard of and who is, I believe, unfamiliar to most readers. Set against the intellectual, religious, and scientific climate of the second half of the 19th century and the early years of the 20th, this recounting of the life of the awesomely brilliant Adele Marion Fielde should be required reading for anyone interested in such wide-ranging subjects as: missionary work in China, political and cultural life in western and eastern Europe, the early feminist movement, late-19th-century scientific thought and research....and more, more, more. And then there is the fascinating Ms. Fielde herself, a woman of extraordinary intellect, humanism, insight and energy, who not only survived an extraordinary tragedy but turned enforced self-reliance into the driving force of a most remarkable life. Why doesn't someone turn it into a movie?

I really enjoyed this book. I'm not much of jazz player, and never will be but I learned a lot from this. It's helped immeasurably by the inclusion of a CD covering all the lessons. Not quite like having a private teacher, but not far off, and a hell of lot cheaper.

Grease is one of my favorite movies and I have seen it many times but the book was disappointing and had unfamiliar characters like Sonny's girlfriend Marsha, Sonny didn't have a girlfriend in the movie but I remember him liking Marty and wanting her to dance with him at the dance contest and getting mad when she threw him over for Vince Fontaine, but the main reason I didn't like the book was that I found it a bit dull and it was hard not to compare it to the fantastic movie but that's just my personal opinion.

I thought I would like this book but it left me feeling cold. Grease is one of my all-time favorite movies, so this should be a natural favorite for me. The movie has such a great feeling to it.

But for some reason I can't explain, the singing and dancing and such really doesnt translate to the page very well. I found myself in total disbelief nearly every time the gang broke out into song. That doesnt happen when I watch the movie. Also, I think the author wasted too much time describing the dance moves -- i.e. (from page 38), "Sonny shook his arms and twisted around in a circle, as Danny waved in time to the beat. Meanwhile, Roger grabbed Sandy and spun her in a tight pirouette, swaying his hips all the while." This could be especially distracting when there were more than 3 or 4 people dancing at a time.

Another thing that really annoyed me is that while there were a couple new characters, sometimes the author found it too difficult to stray from the movie. I couldn't believe it, but he actually described Danny this way: "He was 18, the hunkinest senior around. His brown pompadour stayed still in the highest winds. Many people considered Danny a ringer for a young John Travolta." I thought this was supposed to take place in the 1950's!!! Also, regarding Sandy, a couple times the author notes that she sings "almost in an Australian accent." (p. 71, p. 174). I believe these are gratuitous references to Olivia Newton John rather than legitimate biographical details about the character.

While I do think it is admirable that somebody tried to make a book from this great movie, I do not think the musical genre translates very well to the page so I hesitate to recommend this book.

Any Grease enthusiast will enjoy this book. Don't expect it to be just like the movie. There are little twists in the story and a few characters who were not in the movie (Marsha and Roger). This is more of a depiction of what the movie would have been like if it had actually happened. Plus, you get a little more insight into what the characters were feeling and thinking, which can be dificult when told in thrid person perspective (Sonny's point of view). A must read for Grease fans

Conversations recorded in 1995 between Leonard Sweet, at the time the Dean of the Theological School at Drew University, Madison, NJ, and Rick Warren, Senior Pastor of Saddleback Community Church, Orange County, CA.

Although I was somewhat familiar with Leonard Sweet's writings this was my first exposure to Rick Warren. This audio book is a great introduction to both of these cutting edge Christian leaders!

Although set up almost as an interview, primarily with Sweet interviewing Warren, the recording has a feel of listening in on a living room conversation between the two men, it "feels" natural, not staged.

The discussions range from a bit of personal history in their ministerial journeys, to some observations of the current "state of the church", to a call to seek out the leading edge of the next wave of ministry in the 21st century.

Much of Warren's material comes from his book, The Purpose Driven Church, published around the same time. Sweet, a cutting edge historian, philosopher, author, and commentator on Christian life and ministry, adds some wonderful commentary of his own to Warren's ideas.

I was especially "grabbed" by Warren's concept of ministry as surfing - how to recognize a rideable wave, how to climb on the board, how to ride the wave, how to get off again, and especially, how and where the wave begins.

Sweet and Warren's books are much more in-depth than is possible on two 60 minute tapes but The Tides of Change is a great introduction to the ministries and philosophies of both men. I would highly recommend this audio book to anyone attempting to lead a struggling church through the swirling "Tides of Change" in today's world!

It's time for church leadership to wake up and see that those they want to reach for Chrisitianity are DIFFERENT than they are! Younger, in-touch with today's communications venues - but yearning for God (just as many of us have been). Slaughter uses vivid examples of how some churches have woken up to this fact. And, in a lively writing and textual font style of presentation brings this point home. As an older (age 50+) church leader my eyes are beginning to open. And,as Slaughter points out, a whole new adventure is beginning. Jesus Christ was, and is relevant - a simple fact not to be forgotten.

This book speaks volumes if the reader takes the time to peruse the text. However, as a quick reference it is somewhat cumbersome. Also, the star rating system often does little justice to movies which started or define a genre, those with substance over style, and to movies that have inspired other screen works. Two and one-half to three stars appear too frequently for these types of movies.

Maltin's guide is not bad. I refer to the 1998 paperback Issue. It contains 19.000 reviews of film or TV movies. I think it is a must.But the editor/author, ie Maltin has nothing to say about choice or verdict. Choice is evidently films known to the USA audience. Verdict is not easy to understand: **** is top, BOMB is bottom. Grade 1 is ****, grade 2 is ***½, grade 3 is ***,et cetera. What does a certain grade signify? Maltin has nothing to say.What more: A room with a view, Elvira Madigan, Goodfather III are all rated ***, the same as Gentlemen prefer Blondes. I have just seen MM in Gentlemen prefer Blondes, and it is a charming movie. But to compare it to the others is a major fault, I think. I suggest 1) Skip all B/W movies but the very best,as Metropolis. 2) Give data on audience 3) Make a much better index. Of course You could make a B/W supplement - even including B-movies of Ronald Reagan or John Wayne. And you might even include a list of the James Bond movies. Hollywood or USA,

Most readers of this book who are familiar with Joseph Leidy and his work will be disappointed. The biography offers an ear full about the scientific climate during the late 1800's of America, but relatively little about, Joseph Leidy, himself. Throughout the book the author laments the fact that Leidy was not an experimental biologist or theorist, and overlooks Leidy's talents as a descriptive biologist, geologist, and (what he is most known for) paleontologist. This book, even, lacks a bibliography of Joseph Leidy's writings. I would suggest anyone to read Joseph Leidy's original words. Hopefully we don't have to wait another 150 years for the next biography to be published.

This book is required reading for anyone interested in natural history or the academic and scientific climate of 19th century Philadelphia. Leidy, a man of immense distinction in his time, was virtually forgotten in this century. Warren has given us an absorbing account of the life and times of this eminent Victorian, and in doing so has restored him to the stature he deserves as "The Last Man Who Knew Everything."

i have never looked through this book,but i bet it's just as bad as his movie guide book.

Leonard Maltin and his partners again provide a good resource for movie selection for kids. This time, they get it about 85% right. I found myself reminded of several movies I had forgotten about but which my kids (daughter 7, son 4) might like: "Singin' in the Rain", "James & the Giant Peach", and "Li'l Abner." And, I learned about good movies I had not known about, such as "Korczak", for older children, and "Billy Rose's Jumbo" (with Doris Day).

Maltin overlooks a recent straight-to-video Miramax movie my kids love. "The Thief & the Cobbler" features the voices of Vincent Price as the rhyming villain, Jonathan Winters as the persistent thief, Matthew Broderick as the charming cobbler and Jennifer Beals as the spunky Princess. The animation is startling, the story is great and the running ruminations of Jonathan Winters hilarious. I also notice that Maltin does not include Mary Martin's "Peter Pan" or the remake of "Mighty Joe Young."

Each film has a note as to how it will play with young children and another note for older children. "Babe," for instance, is "VG" for young children and "VG" for older children. Maltin seems to measure these scores on a variety of points, including themes of sexuality, or violence, or boredom. He is especially alert to how frightening movies can be, and will comment about difficult parts. He also understands that children and adults view the same movie differently. "Pee-Wee's Big Adventure " is boring or insipid but for kids it is "VG/VG." "Chitty-Chitty Bang Bang" is understood to be a weak "Poppins" imitation, but some kids like it anyway ("VG/NG"). Most of the newer "Batman" films get a direct "no" for young children. "A Patch of Blue" gets a "no" for young children and "VG" for older children. I would want Maltin to distinguish or alert us to other, more subtle problems with certain movies and the lessons and scenes our children will take away from them. Young children, especially, live in a world in which bad behavior is punished and good behavior is rewarded, but many movies do not care about that. In "Pocahontas" ("VG/VG") there is no clear good guy/bad guy division, which was quite disturbing to my kids. For "Dumbo" ("VG/VG"), which Maltin correctly describes as sweet and sad, he notes the scene in which Mother is locked up as a Mad Elephant, but does not recognize the depth of the lesson in this to very young children, that a mother's protections are punished and that Mother can be taken away and the baby left alone. Elsewhere, Maltin has listed "Dumbo" on his "best 10 for children" list. For "Oliver!" ("VG/VG") Maltin makes a point of noting the darker side of the movie, in the physical brutality of Bill against Nancy. I would argue that the beatings overshadow the benefit of the rest of the film for children under 9. In "Grease" ("OK/VG"), the good guys can be mean to their girls, and casually smoke cigarettes. My daughter could not resolve those paradoxes and found it too difficult to work through them and enjoy the story. Maltin does not mention these but does note the problem message, of the heroine getting her man by "trashing'' herself. "Annie" points out the potential terror and confusion for young viewers but still rates it "VG" for young children (and "OK" for older kids).

Today children will watch a video a dozen times (or fifty), and we parents need help to pick through the lessons they are learning. Maltin provides some help and is alert to many of the pitfalls. In the end our own presence is needed to answer questions -- and ask the questions for them, where they are unable to pick apart their confusion. As Maltin reminds in his introduction, "every film is made better when you talk about it with your kids."

Leonard Warren was certainly one of America's greatest singers, ranking only after Merrill & Tibbett when it comes to baritones. In the 40 years since his death on stage at the Met during a performance of LA FORZA DEL DESTINO this is the first full-length biography devoted to him. Unfortunately, he deserves better. Much better.

After having read other books by the author, I was surprised at the ill-flowing, disjointed narrative here. She relies far too much on family recollections instead of objectivity. She repeats the story of Jan Peerce's anger at Warren's cobersion to Catholicism far too often as well as relying on Warren's sister. The recollections of fellow artists are few, of little importance, and were made mostly in conjunction with articles written decades ago. Except for some anonymous recording sessions in 1940, early in Warren's career, there is nothing about later sessions when he made his complete operas. Did he just show up, sing, and go home? Usually there are interesting stories to repeat (they could have at least borrowed Culshaw's about the GIOCONDA sessions). Likewise, there is no comment on why Warren was used only once by Toscanini. Did something happen? Were Valdengo or Merrill easier to work with than Warren? The author is silent. She also spends an inordinate amount of paper and ink huffily asking why Warren didn't progress faster to stardom at the Met - then answers he own questions by telling about other (and far more seasoned) artists like Tibbett & Bonelli, both of whom had senority over the newcomer Warren.

The index is worthless since there are no references to any of Warren's roles or even an entry for "Warren, Leonard." Are researchers expected to plow through this badly-written book for themselves?

The discography is also poorly organized and touts commercial releases plus those sponsored by the Warren Foundation, a release of VAI from the 1940 sessions and their own 2-CD set. Other issues, especially a superb 2-CD set on Romophone or a competing CD of the 1940 sessions on Minerva, are ignored or merely mentioned in passing.

By the way, anyone interested in the 2-CD Warren Foundation set might first look on their shelves. Except for 4 tracks, everything is already available elsewhere. They missed an excellent chance to use live material.

It may be a long time before we get anotehr Warren biography but this one isn't worth the time or effort.

It seems American publishers today are reluctant to touch any opera singers aside from three aging tenors. Amadeus Press is the notable exception. Stars such as Astrid Varnay, Martha Modl, Hans Hotter, and James King have had to turn to German publishers. In that atmosphere we opera fans should be happy to get ANY biographies of great singers. And, regrettably, this is probably the only biography of Leonard Warren we are likely to get for some time.

I use the term "regret" because Warren deserves a biography worthy of his stature as one of the finest singers America has produced. This isn't it. The writing style is more appropriate to a series of magazine articles than a smooth-flowing narrative. The content smacks more of a fan than an objective author. Too often we are bombarded by phrases from reviews and family memoirs. Why quote a family "review" of a Met performance that had Met manager Edward Johnson "almost falling out of his box" and a "five-minute ovation" when the newspapers presented a more restrained demonstration? The author also takes many pains to ask why Warren wasn't given starring roles earlier in his career when a more objective author would have been aware of the serious competition at the Met with Tibbett having considerable seniority as well as popularity. There are many aspects of Warren's career that the auhtor ignores (presumably because there was no family member present) such as the one concert with Toscanini and why Warren was never used again by Toscanini. Was Warren's arrogance at fault there as well? Recording sessions are ignored except for the first anonymous 1940 sessions. The index is terrible and almost useless. Entries are confined to names only, no works - and there is no entry for "Warren, Leonard" which limits this book as a reference. How are researchers to look up specifics about his life or career? They can't. Very lazy! The discography is equally difficult with such tables as combinations of studio plus "selected" live performances and studio sessions that include not only the complete operas but every time these were used in excerpts. The discography also fails to include several CDs of Warren's material (such as Minerva and Romophone that apparently compete with the 2-CD set from the Leonard Warren Foundation).

For most fans, this disappointing book will be self-recommending simply because there are no other Warren bios and none on the horizon. I'd put this on a par with the superficial Emmons treatment of Lauritz Melchior.