Not a single sub-genre or band goes uncovered. Well-researched and fact-filled, the witty text befits the raucous bands that push musical-and all other-boundaries. From obscure groups like Armored Saint and Norway's Mayhem to pioneers Grand Funk Railroad and Iron Maiden to megastars like Ozzy Osbourne, Alice Cooper, Lita Ford, Van Halen, Joan Jett, and Marilyn Manson, each entry contains vital statistics: a description of the band's history and sound; an essential discography; the most current, comprehensive, popular compilations; and much more. Special features cover such important details as "Metal Fashion" and the various metal genres. Def Leppard, Faith No More, Guns n' Roses, Judas Priest, Metallica, AC/DC, Nine-Inch Nails, Poison, Rage Against the Machine, and Japan's Loudness: all of the favorite (and not so favorite) adrenaline-pumped, bizarre bands that make heavy metal the unique form it is appear in all their glory.

     In "Wendy and the Lost Boys" bestselling author Julie Salamon explores the life of playwright Wendy Wasserstein's most expertly crafted character: herself. The first woman playwright to win a Tony Award, Wendy Wasserstein was a Broadway titan. But with her high- pitched giggle and unkempt curls, she projected an image of warmth and familiarity. Everyone knew Wendy Wasserstein. Or thought they did. Born on October 18, 1950, in Brooklyn, New York, to Polish Jewish immigrant parents, Wendy was the youngest of Lola and Morris Wasserstein's five children. Lola had big dreams for her children. They didn't disappoint: Sandra, Wendy's glamorous sister, became a high- ranking corporate executive at a time when Fortune 500 companies were an impenetrable boys club. Their brother Bruce became a billionaire superstar of the investment banking world. Yet behind the family's remarkable success was a fiercely guarded world of private tragedies. Wendy perfected the family art of secrecy while cultivating a densely populated inner circle. Her friends included theater elite such as playwright Christopher Durang, Lincoln Center Artistic Director Andre Bishop, former "New York Times" theater critic Frank Rich, and countless others. And still almost no one knew that Wendy was pregnant when, at age forty-eight, she was rushed to Mount Sinai Hospital to deliver Lucy Jane three months premature. The paternity of her daughter remains a mystery. At the time of Wendy's tragically early death less than six years later, very few were aware that she was gravely ill. The cherished confidante to so many, Wendy privately endured her greatest heartbreaks alone. In "Wendy and the Lost Boys," Salamon assembles the fractured pieces, revealing Wendy in full. Though she lived an uncommon life, she spoke to a generation of women during an era of vast change. Revisiting Wendy's works-"The Heidi Chronicles" and others-we see Wendy in the free space of the theater, where her many selves all found voice. Here Wendy spoke in the most intimate of terms about everything that matters most: family and love, dreams and devastation. And that is the Wendy of Neverland, the Wendy who will never grow old."

    "Ikiru "(1952) tells the painful and intimate story of a Japanese civil servant coming to terms with old age and death. In "Seven Samurai "(1954) the inhabitants of a small Janpanese village employ a roaming band of samurai to defend them. In "Throne of Blood" (1957), based on "Macbeth," a samurai is encouraged by his wife to kill his lord.This edition also includes a critical introduction to each screenplay.

    "I heartily recommend (this book) for beginners and pros alike."--Steven Bochco.

    In this unique double biography she chronicles their lives - personal and professional, together and apart. John Thaw was born in Manchester, the son of a lorry driver. When he arrived at RADA on a scholarship he felt an outsider. In fact his timing was perfect: it was the sixties and television was beginning to make its mark. With his roles in Z-Cars and The Sweeney, fame came quickly. But it was John's role as Morse that made him an icon. In 1974 he married Sheila Hancock, with whom he shared a working-class background and a RADA education. Sheila was already the star of the TV series The Rag Trade and went on to become the first woman artistic director at the RSC.

    "foot soldiers" would hunt him down. He's antagonized almost everyone at the top in Tinseltown. And now, Joe Eszterhas tells everything he knows -- in brief, quotable bursts -- about the business, the history of Hollywood, and how to write screenplays that make millions. Idiosyncratic, gruff and as shaggy as Eszterhas himself, The Devil's Guide to Hollywood makes a character/leitmotif of Eszterhas' fellow Hungarian Zsa Zsa Gabor ("Money is like a sixth sense that makes it possible for you to fully enjoy the other five."), and makes the case that Marilyn Monroe was the sharpest tack in Hollywood ("Hollywood is a place where they'll pay you a thousand dollars for a kiss and fifty cents for your soul. I know, because I turned down the first offer often enough and held out for the fifty cents."). Refreshing, dirty, tough, there's no book like it.

    Lemon tells the audience about the overwhelming influence in her life of her parents' friend "Aunt Dan," an eccentric, passionate professor whose stories and seductive opinions enthrall Lemon from the time she is a young girl. The relationship that develops between Lemon and Aunt Dan and the conversations that went on in a small house on the bottom of an English garden form the focus of this play about political orientation and the allure of certain ideas-even if they lead to murder. A forceful play exposing the banality of society's evil, Aunt Dan & Lemon explores the ease with which good and bad become reconciled in the human mind.

    From such great radio works as "War of the Worlds" to his cinematic masterpieces Citizen Kane, The Magnificent Ambersons, Othello, Macbeth, Touch of Evil, and Chimes at Midnight, Welles was a master storyteller, as expansive as he was enigmatic. This Is Orson Welles, a collection of penetrating and witty conversations between Welles and Peter Bogdanovich, includes insights into Welles's radio, theater, film, and television work; Hollywood producers, directors, and stars; and almost everything else, from acting to magic, literature to comic strips, bullfighters to gangsters. Now including Welles's revealing memo to Universal about his artistic intentions for Touch of Evil, (of which the "director's edition" was released in Fall 1998) this book, which Welles ultimately considered his autobiography, is a masterpiece as unique and engaging as the best of his works.

    In the process they made computer history.

    Ted Hope, whose films have garnered 12 Oscar nominations, draws from his own personal experiences working on the early films of Ang Lee, Eddie Burns, Hal Hartley, Michel Gondry, Nicole Holofcener, Todd Solondz and other indie mavericks, relating those decisions that brought him success as well as the occasional failure.Whether navigating negotiations with Harvey Weinstein over final cuts or clashing with high-powered CAA agents over their clients, Hope offers behind-the-scenes stories from the wild and often heated world of low-budget cinema—where art and commerce collide. As mediator between these two opposing interests, Hope offers his unique perspective on how to make movies while keeping your integrity intact and how to create a sustainable business enterprise out of that art while staying true to yourself. Against a backdrop of seismic changes in the indie-film industry, from corporate co-option to the rise of social media, Hope for Film provides not only an entertaining and intimate ride through the ups and downs of the business of art-house movies over the last 25 years, but also hope for its future.

    Looking at practices, concepts, tools and mixing instruments the author provides a comprehensive insight to the art and science of mixing.Whether a hobbyist of professional this book covers basic concepts to advanced techniques as well as tips and tricks and is a vital read for anyone wanting to succeed in the field of mixing.The book is accompanied by the website www.mixingaudio.com, featuring a sample chapter, illustrations, audio and a user forum. * Rounded, extensive and complete coverage of music mixing* Includes a DVD with over 700 audio samples and 4 sample mixes. The DVD is not included with the E-book. Please visit http://www.mixingaudiodvd.com/ to access the DVD content.* Covers new topics and mixing trends such as computer centred mixing

    In addition to the new “musts,” Thomson has added key figures from film history–lively anatomies of Graham Greene, Eddie Cantor, Pauline Kael, Abbott and Costello, Noël Coward, Hoagy Carmichael, Dorothy Gish, Rin Tin Tin, and more. Here is a great, rare book, one that encompasses the chaos of art, entertainment, money, vulgarity, and nonsense that we call the movies. Personal, opinionated, funny, daring, provocative, and passionate, it is the one book that every filmmaker and film buff must own. Time Out named it one of the ten best books of the 1990s. Gavin Lambert recognized it as “a work of imagination in its own right.” Now better than ever–a masterwork by the man playwright David Hare called “the most stimulating and thoughtful film critic now writing.”

    Book by Richard O'Brien

    Taking examples from the plays of Aeschylus, Sophocles and Euripides, The Poetics introduces into literary criticism such central concepts as mimesis (‘imitation’), hamartia (‘error’), and katharsis (‘purification’). Aristotle explains how the most effective tragedies rely on complication and resolution, recognition and reversals, centring on characters of heroic stature, idealized yet true to life. One of the most powerful, perceptive and influential works of criticism in Western literary history, the Poetics has informed serious thinking about drama ever since.Malcolm Heath’s lucid English translation makes the Poetics fully accessible to the modern reader. It is accompanied by an extended introduction, which discusses the key concepts in detail and includes suggestions for further reading.

    It's easy to see why Mr. Martin, who wrote the film...was moved to reinvent this role...Mr. Martin's screenplay is bighearted and funny.' The New York Times