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The following classified, annotated list of titles is intended to provide reference librarians with a current checklist of new reference books, and is designed to supplement the RSR review column, “Recent Reference Books,” by Frances Neel Cheney. “Reference Books in Print” includes all additional books received prior to the inclusion deadline established for this issue. Appearance in this column does not preclude a later review in RSR. Publishers are urged to send a copy of all new reference books directly to RSR as soon as published, for immediate listing in “Reference Books in Print.” Reference books with imprints older than two years will not be included (with the exception of current reprints or older books newly acquired for distribution by another publisher). The column shall also occasionally include library science or other library related publications of other than a reference character.

Current issues of Publishers' Weekly are reporting serious shortages of paper, binders board, cloth, and other essential book manufacturing materials. Let us assure you these shortages are very real and quite severe.

“Since films attract an audience of millions, the need and appetite for information about them is enormous.” So said Harold Leonard in his introduction to The Film Index published in 1941. The 1970's has produced more than enough — too much — food to satisfy that appetite. In the past five years the number of reference books, in this context defined as encyclopedias, handbooks, directories, dictionaries, indexes and bibliographies, and the astounding number of volumes on individual directors, complete histories, genre history and analysis, published screenplays, critics' anthologies, biographies of actors and actresses, film theory, film technique and production and nostalgia, that have been published is overwhelming. The problem in film scholarship is not too little material but the senseless duplication of materials that already exist and the embarrassing output of items that are poorly or haphazardly researched, or perhaps should not have been written at all.

The purpose of this paper is to understand the growing popularity of coaching; a concept whose influence increasingly spans academic disciplines and institutional fields.

The paper makes sense of coaching by using actor network theory, an approach that seeks to understand how a phenomenon becomes macro social. By examining a wide array of historical documents it traces the characteristics that underlie the transformation of the coach from a technological object to a management concept. In doing so it outlines the fundamental characteristics of coaching.

Specifically coaching involves a post technological nature where performances often occur in extreme conditions that involve the reciprocal interdependence of bodies (teams). These performances may also be viewed as involving impurity, as amateurs who participated purely for the love of the game have usually paid coaches for their services.

While there is no denying the influence of coaching, little attention has been given to the history of this concept. This article provides an example of how the past frequently remains present and offers explanation for the popularity of coaching. In doing so it outlines a potential framework for consistently discussing the concept across organizational forms.

Although none of the new music reference books of the past year totally replaces the old stand‐bys, some significant works did appear, especially in the areas of contemporary music, opera, and classical music discography.