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Books which mention
Michael Praed

Views expressed here belong to Celeste Moore alone.
You are strongly encouraged to read these books for yourself and make up your own mind.
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'30th Anniversary Daw Fantasy Anthology' by various authors 30th Anniversary DAW Fantasy Anthology
by various authors   
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In honor of the thirtieth anniversary of DAW Books, this anthology of original short stories features works by some of fantasy's most important authors, including Mercedes Lackey, Larry Dixon, Andre Norton, Melanie Rawn, Christopher Stasheff, Ian Watson, Tanith Lee, Tad Williams, Michael Shea, etc.
  Author Mercedes Lackey mentions Michael Praed by name as the physical incarnation of her popular character Vanyel in the hilarious short story 'After Midnight'.  An author awakes at midnight, surrounded by the angry characters she's "abused" in her books.  Can they convince the author to let them live carefree lives?  Will Herald-Chronicler Myste ever get a boyfriend?  Can the author convince her characters to leave her in peace?  Wonderful anecdote for a Lackey / Praed fan!
'Knights of the Morningstar' by Melanie Rawn Quantum Leap: Knights of the Morningstar 
by Melanie Rawn   
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Tie-in novel with the US television show 'Quantum Leap'.
Dr Sam Beckett leaps in time and is astonished to discover himself in armor.  His leaping has not gone any more "ca-ca" than usual: Sam is still within his own lifetime.  He's leaped into the body of the man who created an integral component to Project Quantum Leap which may be the cause of Sam's random travel through time.  A critical incident occurred during a medieval festival which Sam needs to set right. Just when it is beginning to look like his task can't get any more difficult, evil leaper Alia reappears, ready to sabotage Sam's project again.
  True to life, members of the SCA-like group that Sam joins are discussing who will be cast as Robin Hood in the proposed movie "Prince of Thieves".  Michael Praed's name comes up as the obvious contender.  Sam astounds the chatters by stating that Kevin Costner is the producers' ultimate choice.  Fun tale.
'Textual Poachers: Television Fans and Participatory Culture (Studies in Culture & Communication)' by Henry Jenkins Textual Poachers: Television Fans and Participatory Culture (Studies in Culture & Communication) 
by Henry Jenkins   
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Rejecting stereotypes of fans as cultural dupes, social misfits, and mindless consumers, Jenkins presents media fans as dynamic creators and skilled manipulators of program meanings, roving poachers constructing an alternative social community from borrowed materials.  Jenkins shows how fans of Robin of Sherwood and other popular programs make use of cultural materials as the basis for their stories, songs, videos, and social interactions.

  A very brief outline of the concept behind 'Robin of Sherwood' is given.  Mention is made of Michael Praed leaving the cast, necessitating a new 'Robin'.  Jenkins thought the allegory of the Summer King's death and subsequent rebirth fit the mystic mood of the series very well.  He felt the show had a magical atmosphere.  Good summary.
'The Heroic Figure in Children's Popular Culture: Vol 18' edited by Dudley Jones and Tony Watkins The Heroic Figure in Children's Popular Culture: Vol 18 edited by Dudley Jones and Tony Watkins  [Go to top]

This book explores a wide-ranging mixture of heroic figures in literature, movies, comic books and television for children, including Robin Hood, Cinderella, Peter Pan, Nancy Drew, the Teenage Mutant Ninja Turtles, and Dr. Who. The authors dissect the varied depictions of the hero in media geared toward children.

  Michael Praed is listed as a cast member of 'Robin of Sherwood', which is praised for its innovative blend of realism and the supernatural.  The writers felt that the program's wide appeal (age-wise) was due in part to Michael's "dark, matine-idol looks".  They also liked Richard Carpenter's writing, noting that two other scholars, William Anderson and John Matthews, had made the link between Robin Hood, paganism, the Green Man and Celtic mythology before Carpenter.  Whilst 'RoS' was linking the ancient Green Man to the "Green Age" of the 1980s, the series went out of its way to accurately present the lives of medieval England, particularly with costumes and sets.  Political and social mores of medieval England were also well portrayed, although the authors saw a parallel with the class struggles of Thatcher's England.  Huntingdon's inheritance of Loxley's mantle was seen as a believable way to deal with Michael's departure from the show, but also a development which reflected the deepening conservative views of the 1980s.  The common man gave way to the aristocrat's son.  Interesting viewpoints, well presented.
'Creature Features: The Science Fiction, Fantasy, and Horror Movie Guide' by John Stanley Creature Features: The Science Fiction, Fantasy, and Horror Movie Guide  by John Stanley    [Go to top]
This offbeat movie guide presents critical and humorous reviews of science fiction, fantasy, and horror films from every medium, offering thousands of capsulized reviews, a five-star rating system, video and laserdisc distribution information, and more. 
  Michael Praed's work in the films 'Nightflyers', 'To Die for 2: Son of Darkness' and 'Writer's Block' are reviewed in this book.  John Stanley seems to enjoy Michael's acting.  He concluded the latter two were above average for the genre, but found the well-meaning 'Nightflyers' script uneven.  Fair assessments.
'A Knight at the Movies: Medieval History on Film' by John Aberth A Knight at the Movies: Medieval History on Film 
by John Aberth   
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Since so much of the public's knowledge of history comes from popular media, A Knight at the Movies examines the historical content of films representing the medieval period.  Historian Aberth dissects how each film interpreted the period, offering judgments of the historical accuracy of the works and demonstrating how they project their own contemporary obsessions and fears onto the past.
  Michael Praed was mentioned as one of the stars of 'Robin of Sherwood'.  Aberth doesn't see much historical or literary merit for 'Robin of Sherwood', despite other claims to the contrary.  He felt the show was primarily a means of self-expression for writer Richard Carpenter and a way to "pander" to the Wiccan community. He noted that the occult wasn't foreign to medieval outlaw stories, but stated it wasn't part of the Robin Hood legend until 'RoS'.  The addition of Robin's Arab "sidekick" Nasir was also looked upon as a bit of an aberration.  Although he made valid observations in making his point, I couldn't help but wonder if Aberth wasn't projecting his own personal obsessions and fears in his judgments.
'"Hello!" Crossword Book: No. 2' by Mitchell Symons "Hello!" Crossword Book: No. 2 
by Mitchell Symons   
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Eighty crossword puzzles taken from "Hello!" magazine.
  I'll give you a hint: "Michael Praed" is one of the answers.
'The Happiest Corpse I've Ever Seen: The Last Twenty-Five Years of the Broadway Musical' by Ethan Mordden The Happiest Corpse I've Ever Seen: The Last Twenty-Five Years of the Broadway Musical 
by Ethan Mordden   
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This stinging critique focuses on modern musicals and the many ways in which Mordden finds them lacking. Mordden readily discloses that this book is a diatribe. "Today the musical is suffering dislocation and alienation," he declares. "It no longer leads the culture. It follows, adopting the degenerative policies of schlock."
Ethan Mordden is considered an expert on musical theatre.  So why did he claim in his review of 'The Three Musketeers' that although Michael Praed could sing, singing operetta was not one of his gifts?  One would expect the "expert" would know that Michael first came to light in the West End of London in the Gilbert and Sullivan operetta 'The Pirates of Penzance' to rave reviews.  Curious.  And I'm dumbfounded about his statement that the musical once led culture.  That claim seems rather inflated to me!
'New York Times Theater Reviews 1985 - 1986' by the New York Times

New York Times Theater Reviews 1985 - 1986 
by "New York Times"   
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Hard-to-find title filled with scathing reviews from the New York Times.
  Includes snide comments regarding Michael Praed's Broadway debut in 'The Three Musketeers'.  At least these attacks demonstrate why some theatre scholars believe that Frank Rich and his self-obsessed cohorts nearly destroyed musical theatre on Broadway.  One wonders if their need to appear contemptuously witty throttled initiative.  It's no surprise the birthplace of flourishing musicals shifted from New York City to London... where Michael was more successful.  Coincidence?

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